i    STACK 
\    ANNEX 


S 

059 

206 


^pI^onouncing 
;KET-MANDAL 

OF 

ICAL  TERMS 

together  with 
ELEMENTS  OF  NOTATION 


yi>£NS£D  BIOGSAPmES  OF 
OTEWORTHY  MUSICIANS 


Edited  by 

R.  TH.  BAKER 


:8mnos 
([iisioAT^n 


L 


DRKt  G.  SCHIRMER 
BtLES  WOOLHOOSE 
n'^ur  St.,  Lnndoo,  West 
1905 


7^ 


2^-*-*/    1^^i^    fi^r^  ^;iy»^^9^^^y^yu,,4<AjU^l 


Q 


^Jy^j.  CyuU/y^  ^jl^^^'^' 


A 

pronouncing' 
POCKET-MANUAL 

OF 

MUSICAL  TERMS 

together  with 

THE  ELEMENTS  OF  NOTATION 

and 

CONDENSED  BIOGRAPHIES   OF 
NOTEWORTHY   MUSICIANS 

Edited  by 

Dr.  te.  baker 


NEW  YORK :   G.  SCHIRMER 

I9C5 


Copyright,  1905, 
By  G.  SCHIRMER 


17880 


BURR  PRIKTTNG  HOUSB 
NEW  YORK 


INTRODUCTORY 


Elements  of  Notation 

Notation  is  a  system  of  signs  used  in  writing 
music.  The  written  signs  for  the  time-value 
(length,  duration)  of  musical  tones,  are  called 
Notes ;  the  written  signs  for  pauses  (intervals  ol 
silence)  between  the  tones,  are  called  Rests. 

Notes  and  Rests 

Whole  Note  o         Half-note  J  Quaiternote    | 

Whole  Rest-—-        Half-rest"^  auarter-rest  f  X 

Eighth-note     ^     i6th-note     ^   32d-note     ^     64th-note    S 

Eighth-rest  T  i6th-rest  ^       32d-rest  ^        64th-rest  A 

I  Whole  Note  <s>  equals  2    !,  or  4  1,  or  8  N,  or  16  S,  or  32  5 

I  Half-note  I  =   2  | ,  or  4  N,  or  8  S,  or  16  >,  or  52  5 

I  Quarter-note  I  =   2  >,  or  4  S,  or  8  5,  or  16  S 

mm  m^  m^  1^ 

I  Eighth-note  fs  =   2  ^,  or  4  S,  or  8  5 
I   i6th-note  j^  =  2  ^,  or  4  5  ;   and  i  32d-note  ^=25 

The  Staff 

The  Staff  consists  of  five  parallel  horizontal  lines. 
Notes  are  written  on  the  lines,  or  in  the  spaces 
between.  For  higher  or  lower  tones,  additional 
short  lines  are  provided,  called  Leger-lines. 

Le^er-Iines 

5th  line ■ ■ . 

Jth  line 4th  space 

3d  line    3d  space 

2dHne    2d  space 

istluie    ist  space 

Leger-lines 


2057163 


Elements  of  Notation 


The  Clefs 

A  Clef  is  a  sign  written  at  the  head  (beginning) 
of  the  staff  to  fix  the  position  of  one  note.  The  two 
ordinary  clefs  are 

the  G-Clef    yr  ,  fixing  the  place  of  the 

(Treble  Clef)  ly      ^ notei^i;  and 

.,^  17  r^i^f  c:i'  SSZTj^ilZZ,  fixing    the 

lils!-S:i>  9- or  e^=   P'-y£  fe 

(A  third  clef,  the  C-clef,  is  explained  further  on.) 

The  Scales 

The  Staff  and  Clefs  together  fix  the  Pitch  of  the 
notes,  showing  whether  they  are  high  or  low.  A 
series  of  8  successive  notes  on  the  staff  forms  what 
is  called  a  Scaie.  To  name  the  notes  of  the  scale, 
we  use  the  first  seven  letters  of  the  alphabet,  A  B 
C  D  E  F  G.  Scales  are  named  after  the  note  on 
which  they  begin,  which  is  called  the  Keynote. 
The  scale  of  C,  written  in  whole  notes,  in  the  bass 
and  treble  clefs,  is  as  follows : 


The  C  written  on  the  leger-line  just  below  the 
treble  staff  and  just  above  the  bass  staff,  is  called 
Middle-C. 

The  C-clef  (now  written  on  either  of  three  lines 
of  the  staff,  and  in  several  different  shapes,  two 
being  shown  on  this  page  and  the  next). 

Tenor  Clef:  Alto  Clef:  Soprano  Clef: 

M 


m 


fixes  the  position  of  ^Iidd!e-C  in  tliree  different 
places^;/  the  staff  instead  of  de/oTV or  adove  the  stafiE, 
as  the  following  Table  of  Clefs  shows. 


Elements  of  Notation 


IK 

J+ 

1: 

■i^ 

M 

Hi 

II 

'f 

p 

<;SE 

c 

:>' 

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s? 

^1 

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v»  Elements  of  Notation 

The  notes  in  the  same  vertical  line  are  of  the  same 
pitch  and  have  the  same  name.  For  ordinary  pur. 
poses,  any  note  marked  C  (c)  is  called  simply  "C." 
But,  in  order  to  fix  the  place  which  any  given  note 
occupies  among  all  the  others  (that  is,  to  fix  its 
"Absolute  Pitch"),  the  whole  range  of  musical 
tones  is  divided  into  sections  of  seven  notes  each, 
called  "  Octaves,"  and  lettered  and  named  as  shown 
in  the  Table.  N.  B.— The  next  octave  below  the 
Great  Octave  is  the  "Centra-octave  ;"  below  that 
again  is  the  "  Double  Contra-octave," 


Chromatic  Signs 

The  Chromatic  Signs  are  set  before  notes  to  raise 
and  lower  their  pitch. 

The  Sharp  #  raises  its  note  a  semitone  ; 

The  Flat  [?  lowers  its  note  a  semitone  ; 

The  Natural  'a  restores  its  note  to  the  natural 
pitch  on  the  staff  (without  chromatic  signs)  ; 

The  Double-sharp X  raises  its  note  2  semitones; 

The  Double-flat  1?  t>  lowers  its  note  2  semitones  ; 

The  sign  S^  restores  a  double-sharped  note  to  a 
sharped  note  ; 

The  sign  1^1?  restores  a  double-flatted  note  to  a 
flatted  note.  .  ^ 

The  Intervals 
An  interval  is  the  difference  in  pitch  between  two 
notes.  In  measuring  an  mterval,  it  is  customary 
to  take  the  lower  note  as  the  basis,  and  to  measure 
up  to  the  higher  note.  When  the  measurement  i* 
made  downward,  the  interval  is  called  "inverted/* 


■Elements  of  Notation 


■vfi 


Diatonic  Intervals  of  the  Major  Scale 


1 

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bo 

3 

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Q 

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1  i 

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1 
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Q 

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ClI 

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i 

viii 


Elements  of  Notation 


The  Keys 

A  key  is  a  scale  employed  harmonically,  that  is, 

employed     to    form    chords    and     successions    of 

chords.     On  the  keynote  C,  or  on  any  other  note, 

two  different  species  of  scale  or  key  may  be  built  up: 


ra~ 



(2? 

— «>- 

_g. 

J 

-<&- 

^ 

~^ 

-yj^f^-f  — 





"7v5~ 

—tt:. — 

^_ 



-!^— 

-G>- 

^2121= 

--S'— 

-'^^— 

c 

major 


C 

minor: 


Such  a  key  or  scale  is  called  Major  when  its 
Third  and  vSixth  are  major  intervals;  it  is  Minor 
when  its  Third  and  Sixth  are  minor  intervals.  The 
succession  of  intervals  in  every  major  key  is  the 
same  as  that  in  C  major;  in  every  miner  kej',  as 
in  C  minor.  To  adjust  the  intervals  properly, 
chromatic  signs  are  employed,  as  shown  below  : 


Table  of  Keys 


Elements  of  Notation 


It  will  be  seen,  on  passing  round  the  circle  in 
either  direction,  that  the  keynotes  of  the  successive 
keys  always  follow  each  other  at  the  interval  of  a 
perfect  Fifth  ;  hence,  this  circle  of  keys,  ending 
where  it  beyan,  is  called  the  Circle  of  Fifths. 


Chords 

A  chord  is  formed  by  a  succession  of  from  3  to  5 
different  tones,  built  up  in  intervals  of  diatonic 
Thirds  from  a  given  tone,  or  Root.  A  3-tone  chord 
is  a  Triad ;  a  4-tone  chord  is  a  Seventh-chord  (chord 
of  the  Seventh);  a  5-tone  chord  is  a  Ninth-chord 
(chord  of  the  Ninth). 

Triads  in  Major: 

r=     ■  ■ 


i^^Es 


|^^EJ^I=|| 


C:    I         II         III        IV 
Triads  in  Minor : 


II         III'       IV         V         VI        vn° 


Seventh-chords  in  Major: 

7  7  7  7  7  7  7 

-• — t — • * — I 1 \ 

C:     I7         1I7        11I7       IVj,  V7  vij  v\i° 

Seventh-chords  in  ]Minor: 

7  7 

715         7  53        7  tl  7  - 

^         n»      II I7      iVj,  V^  VI^  VII I 


Elements  of  Notation 


Ninth -chords: 

§  s 

In  Major:  7  in  Minor:  7 


m 


When  the  root  of  the  chord  is  the  lowest  tone, 
the  chord  is  in  the  fundamental  position;  when 
some  other  tone  is  the  lowest,  the  chord  is  inverted. 
Each  triad  has  2  inversions ;  each  seventh-chord 
has  3. 

Inversions  of  Triad  :        Inversions  of  7th-chord: 
6 
4 


i 


3: 


ist  inv.     2d  inv.  ist  inv.    2d  inv.    3d  inv 


The  ist  inv.  of  a  triad  is  called  a  chord  of  the  Sixth. 
*'     2d     "      "  "      "      "      "     a  chord  of  the  6th  and  4th. 
"     1st    "     "  "  7th-ch.  is  "     a  chord  of  the  5th  and  6th. 
'*    2d     "     *'  *'        "       "■    "     a  chord  of  the  3d  and  4th. 
"    3d    "     "  "        *'      "    "     a  chord  of  the  Second. 

Time-Signatures 

The  time-signature  is  usually  written  in  the  form 
of  a  fraction  set  just  after  the  clef,  at  the  beginning 
of  a  movement;  the  numerator  (upper  figure)  shows 
the  number  of  notes  of  a  given  kind  contained  in 
each  measure,  while  the  denominator  (lowerfigure) 
shows  the  kind  of  notes  taken  as  the  unit  of  meas- 
ure.    For  instance,  3  (three-four  time)  means  "  3 

quarter-notes  to  the  measure  ":  I    I    I    I 
\m  m  m  \ 

iM  (twelve-sixteen  time>  means  "12  sixteenth-notes 

tothe  measure":  I    1     ;      i      1^^      1^     i     i     il 
\  m  m  m  m  m  m    m  m  w  m  m  m\ 


Common  Abbreviations 


All  ottava 


A.  See  A. 

Accel      Accelerando 
Accomp.     Accompaniment 
Accresc.     Accrescendo 
Adg°  or  Ad°     Adagio 
Ad  lib.     Ad  libitum 
Affett.     Affettuoso 
Aflfrett.     Affrettando 
Ag°  or  Agit°     Agitato 
All°     Allegro 
AJ[S"°  [  Allegretto 
All'ott.  / 

Airs^-^  )" 

And"°      Andantino 
And'e     Andante 
Art.     Arcato 
Arp°    Arpeggio 

B.  See  B. 
B.  C.     Basso  continue 

B.  H.     Both  hands 
Brill.     Brillante 

C.  See  C. 
C.  a.     Coll'arco 
Cad.     Cadenza 
Cal.     Calando 
Cantab.     Cantabile 
C.  B.     Col  basso 
C.  D.     Colla  destra 
'Cello.     Violoncello 

Canto  fermo 
Cantus  firmus 

Ch.     Choir-organ 

C.  L.     Col  legno 

CI.,  Clar.     Clarinet 

ColTott.  /  ^   „,  .. 

Coirs-*  j-Coirottava 

Cor.     Cornet  or  Corno 
C.  P.     Colla  parte 
C'is. 


C.  f. 


C/'isc. 


Crescendo 


^   S.     Colla  sinistra 


D.     See  D. 

Dal  S.     Dal  Segno 

D.  C.     Da  capo 

Delic.     Delicatamente 
Diap.     Diapason 
Dim.     Diminuendo 
Div.     Divisi,  divise 
Dol.     Dolce 
Dolciss.     Dolcissimo 
Dopp.  ped.     Doppio  pedal© 
D.  S.     Dal  segno 

Energ,  Energicamente 
Espr.  (  Espressivo  or 
Espress.  f  Espressione 

F.  See  F. 

F  ox f    Forte 
Fag.     Fagotto 
ffovfff    Fortissimo 
Fl.     Flute 
Flag.     Flageolet 

For.     Forte 
fp     Forte  piano 
For:^.  ory.f     Forzando 

G.  SeeG. 

G.  O.      I  Great  organ  or 
G.  Org.  )  Grand-orgue 
Grand.     Grandioso 
Graz.     Grazioso 
Gt.     Great  organ 

Haut.  or  Htb.     Hautbois 
Hr.  or  Hrn.     Horner 

Incalz.     Incalzando 
Introd.     Introduction 
Inv.     Inversion 


[xi] 


xu 


Common  Abbreviations 


L.     See  L. 

Leg.     Legato 
Legg.     Lesgero,  Leggiero 
Left  hand 


L.  H. 


Linke  Hand 


Lusing.     Lusingando 

M.     See  M. 

Maesi"     Maestoso 

Man.     Manual 

Mane.     Mancando 

Marc.     Marcato 

.,    p^    (  Mano  destra 

^^-  ^-  ■(  -Main  droite 

Men.     Meno 

Mez.     Mezzo 

ftif    Mezzo  forte 

mf\     Mezzo  forzando 

M.  G.     Main  gauche 

M.  M.  Maelzel's  Metronome 

Mod.  or  Mod'o     Moderate 

Mor.     iMorendo 

Mov'"     Movimento 

vrp     Mezzo  piano 

J.,    c    *  Manuscript 

'    •  ^-  ■(  Mano  sinistra 

M.  V.     Mezza  voce 

Ob.     Oboe 

Obbl.     Obbligato 

Op.     Opus 

Opp.     Oppure 

Org.     Organ 

Ott  ,  0^»  or  8^a    Ottava 

Ovv.     Ovvero 

P.     See  P. 

Ped.     Pedal 
Perd.     Perdendosi 
Pes.     Pesante 
pf    Piu  forte 

pfte  •  j-  Pianoforte 
Piang.     Piangendo 
Pianiss.     Pianissimo 
Pizz.     Pizzicato 
Po'     Poco 
pp^  ppp    Pianissimo 

Raddol.     Raddolcendo 
Rail.     Rallentando 


Recit.     Recitative 

r/,  r/f,  rinf.     Rinforzando 

P    u    J  Right  hand 

^-  "-1  Rechte  Hand 

Rhard.r^'^-''-'^^ 
Riten.     Ritenuto 

S.     Sees. 

Salic.     Salicional 

Scherz.     Scherzando 

Seg.     Segue 

Sem.  or  Semp.     Sempre 

s/;  5/f ,  sff,  sffy    Sforzanda 

Sim.     Simile 

Sin.     Sinistra 

Smorz.     Smorzando 

Sost.     Sostenuto 

Sp.     Spitze 

Stacc.     Staccato 

St.  Diap.    Stopped  diapason 

Stent.     Stentando 

String.     Stringendo 

Sw.     Swell-organ 

T.     SeeT. 
T.  C.     Tre  corde 
Tempo  L     Tempo  primo 
Ten.     Tenuto 

y^'P-    I- Timpani 
Tymp.  (  ^ 

Tpt.     Trumpet 

Tr.     Trill,  Trumpet 

Tratt.     Trattenuto 

Trem.    Tremolando,  Trent 

ulant 

Tromb.  Trombe,  Trombon 

U.  C.     Una  corda 
Unis.     Unisono 

V.     See  V. 
Va.     Viola 
Var,     Variation 
Vc,   Vcl.,  Velio.      Violon- 
cello 
Viol.,  VI.,  Vno.     Violino 
V.  O.     Voiles  Orchester 
V.  S.     Volti  subito 
Vv.,  Vni.     Violini 


Rules  for  Pronouncing 
German,  French  and   Italian. 

(Read  these  Rules  carefully,  and  always  refer  to  them 
in  case  of  doubt,) 

The  Vowels  are  often  not  pronounced  as  in 
English.  The  system  of  pronunciation  em- 
ployed in  this  Manual  is  explained  beloV. 

ah  IS  the  broad  a  in  father. 

ah  is  the  same  sound,  only  not  dwelt  upon  ;  like 
all  in  the  college-cheer  "■'rah!  ''rah.'  'rah!'' 
Never  pronounce  ah  like  the  short  English  S 
in  bat. 

a  is  the  short  English  a,  as  in  bat. 

a  is  like  a  in  bare. 

a  is  nearly  like  a,  but  closer.  Short  a  (5)  is  nearly 
like  e  in  bet.,  but  more  open. 

a  is  nearly  like  a  in  bate:  onlv  the  lon^  English 
a  ends  with  a  soft  sound  like  short  i,  called  a 
"vanish,"'  caused  by  slightly  raising  the  root 
of  the  tongue  (a');  whereas  the  long  "Con- 
tinental "  a  has  no  vanish. 

eh  is  the  short  sound  of  long  a  (closer  than  e  in 
bet). 

e  is  short  e^  as  in  bet. 

e  is  long  ^,  like  ee  in  beet. 

I  is  long  /,  as  in  bite. 

\  is  short  /",  as  in  ^/?,  though  sometimes  shaded 
towards  ee. 

oh  is  like  o  in  bode:  only  the  long  English  o  ends 
with  a  soft  sound  like  u  in  buli^  called  a 
"vanish,"  caused  by  drawing  the  lips  together 
(o");  whereas  the  long  "Continental'"  i?  has 
no  vanish. 

6h  is  short  ^,  like  the  first  o  in  opinion.  Never 
pronounce  it  like  the  short  English  o  in  blot. 

6  is  the  so-called  broad  Italian  o,  pronounced  like 
aw  in  taw. 

[xiii] 


xiv     Rules  for  Pronouncing  Ger.,  Fr  and  It. 

6  is  a  sound  not  found  in  English.  To  pronounce 
long  6,  set  the  lips  as  if  to  &&y  "  oh,"  and  then 
say  "a"  (as  in  bate),  keepifig  the  lips  fixed  in 
the  first  position  ;  for  short  6  {o)  set  the  lips  as 
before,  but  then  say  "e"  (as  in  bet)^  keeping 
the  lips  fixed  in  the^rst  position. 

oo  is  like  long  oo  in  boot. 

66  is  like  short  oo  in  book. 

u  is  short  «,  as  in  but. 

ti  is  a  sound  not  found  in  English.  To  pronounce 
long  u,  set  the  lips  as  if  to  say  "  oo  "  (as  in 
boot)^  and  then  say  "ee"  (as  in  bee t),  keeping' 
the  lips  fixed  in  the  first  position ;  for  short 
ii  (il),  set  the  lips  as  before,  but  then  say  "i" 
(as  in  bit),  keeping  the  lips  fixed  in  the  first 
position.  (N.B. — This  ii,  long  or  short,  is  the 
so-called  Frefich  n.) 

Diphthongs  : 
ahii  represents  the  German  du  or  eu  ;  pronounce 
as  one  syllable  quickly  drawn  together,  accent 
on  the  "ah"  (ah'ii).     It  is  somewhat  like  the 
English  oy  in  boy  (aw'i). 

wah  represents  the  French  oi ;  pronounce  as  if 
written  o  ah,  in  one  syllable  quickly  drawn 
together.^ccent  on  the  "  ah  "  (o  3.h'). 

ow  is  like  ow  in  brow. 

The  Consonants  are  usually  pronounced  as  in 
English.  The  following  signs  need  explanation: 

yh  represents  a  sound  not  found  in  English, 
namely,  the  soft  German  ch.  Set  the  tongue 
as  if  to  pronounce  "ye,"  and  then  breathe 
(whisper)  "  he  "  through  between  tongue  and 
hard  palate  (see  Allmahlich). 

h  represents  a  sound  not  found  in  English, 
namely,  the  hard  German  ch.  It  is  merely  a 
rough  breathing,  as  if  one  were  trying  gently 
to  clear  one's  throat.  Never  pronounce  it 
like  k,  unless  explicitly  so  marked. 

ng''  represents  the  sound  7ig  at  the  end  of  German 
words,  which  finish,  after  the  usual  «^-sound 
{ng-  as  in  rinq-),  with  a  light  >t-sound  (see 
Aufschwung). 

n  represents  a  sound  not  found  in  English, 
namely,  the  French  nasal  n.  To  get  the  cor- 
rect nass^l  .cpund,  the  n  must  be  pronounced. 


Rules  for  Pronouncing  Ger.,  Fr.  and  It.       x*r 

not  after  the  vowel,  but  toi^etlier  ivith  the 
vowel;  that  is,  the  vowel  must  be  spoken 
through  the  nose,  thus  becoming  a  nasal 
vowel.  Never  pronounce  like  "ang,"  "  ong," 
etc.,  as  the  pronunciation  is  often  printed; 
there  is  no  «<^-.sound  about  the  French  nasal  n. 
For  example,  to  get  the  sound  of  ain,  as  in 
the  French  word  main  (man),  first  sound  "n," 
setting  the  tongue  firmly  against  the  hard 
palate  so  that  the  vocal  air  (air  vibrating' 
with  tone)  passes  through  the  nose  instead  of 
between  the  lips:  then,  letting  the  "n"  still 
vibrate  through  the  nose,  drop  the  tongue 
and  instantly  blend  the  vowel  "a"  (as  in  bat) 
with  the  "n."  This  blending  of  "a"  and  "n" 
gives  the  exact  sound  desired,  if  cut  off  short 
like  a  staccato  trumpet-tone.  To  say  "main," 
simply  put  an  "m"  before  the  nasal  vowel 
"5.n."  The  nasal  vowels  "^hn"  and  "ohn" 
are  obtained  similarly. 

t  is  to  be  pronounced  with  a  roll,  tip  of  tongue 
against  hard  palate. 

s  must  be  pronounced  sharps  wherever  it  occurs 
in  the  marked  pronunciation  ;  soft  s  is  repre- 
sented by  z. 

zh  represents  the  z  in  azure. 

The  consonants  d  and  /  are  usually  formed,  in 
the  Continental  languages,  by  touching  the  root  of 
the  upper  front  teeth  with  the  tip  of  the  tongue. 
To  make  this  point  clear,  first  pronounce  the  Eng- 
lish word  "  dry  "  in  the  ordinary  way,  tip  of  tongue 
against  the  hard  palate  ;  then  pronounce  the  Ger- 
man "■drei,"  but  taking  the  dr  with  tip  of  tongue 
against  root  of  upper  front  teeth.— Form  /  in  the 
same  manner. 

The  German  zf  is  a  compound  of  the  English  w 
and  V;  i.  e.,  to  get  it  right,  the  lips  must  almost 
close  and,  at  the  same  time,  the  lower  lip  must 
lightly  touch  the  upper  front  teeth. 

N.B. — All  accents  (vowel-marks)  found  on  the  key-words, 
such  as  a,  a,  a,  e,  e.  e,  6,  u,  etc.,  belong  to  the  words  as 
correctly  written  in  their  respective  languages. 


Comparative  Table  of  Tempo-marks 

CLASS   I 

INDICATIXG  A  STEADY   RATE  OF  SPEED 

Larghissimo,  molto  largo   "! 


Group  I. 

General 
signification 
of  terms  is 

SLOW. 


Group IL 

General 

significatioG 

of  terms  is 

FAST. 


Largo  (broad,  stately) 

Largamente 

Larghetto 
Grave  (heavy,  dragging) 
Lento  (slow) 

Adagissimo 
Adagio  (sjow,  tranquil) 

Adagietto 

Andantino  '^ 

Andante  (moving,  going  along) 
Moderato 

Allegretto  ( 

Allegraniente  )■ 

Allegro   (brisk,  liveU-)  [con  moto, 
vivace]  [agitato,  appassionato] 
Presto  (rapid)  [con  fuoco,  veloce]     | 

Prestissimo  J 

CLASS   II 

INDICATING  ACCELERATION 

Accelerando  (with  increasing  rapidity) 

AffrettTnlkj  l (swiftly  accelerating,  usually  with  a 

Incalzando   f     ^''^^ce^ido) 

Doppio  raovimento  (twice  as  fast) 

PiS  mntn°  U^  Stead  V  rate  of  speed,  fasUr  than 

Veloce        j      preceding  movement) 

CLASS   III 
INDICATING  A  SLACKENING  IN  SPEED 
Rallentando 
Ritardando 
AUargando 
Tardando 
Slentando 
Strascinando 
Molto  meno  mosso  {#'  =.^'del  movi-  > /-i,„if  „„  f__rt 
mento  precedente)  ^(.nair  as  tast; 

Ritenuto  ^^  steady  rate  of  speed,  s/ozver  than 

preceding  movement) 


-  (gradually  growing  slower) 


Meno  mosso 

Meno  moto 

Calando 

Deficiendo 

Mancando 

Morendo 

Sminuendo 

Smorzando 


(growing  slower  and  softer) 


[xvi] 


A 
PRONOUNCING 


POCKET-MANUAL 

of 

MUSICAL   TERMS 


A,  I.  (Ger..  A  ;  Fr.  and  It.,  La).  The  sixth  tone  and 
degree  in  the  typical  diatonic  scale  of  C-major. 
— 2.  In  musical'theory,  capital  A  stands  for  the 
^-major  triad,  small  a  for  the  a-minor  triad.— 3. 
For  the  meaning-  of  A  A,  Ai,  a^,  a"^,  a',  a",  a,  etc., 
see  Pitch,  absolute.— 4.  In  Italian,  a  [ah]  (in 
French,  a  [ah])  signifies  to,  at,  for,  by,  in,  etc. 
— 5.  In  this  Manual,  an  -a  following  an  Italian 
word,  means  that  in  the  feminine  form  of  the 
word  a  takes  the  place  of  the  masculine  ending  o. 

Ab  (Ger.,  ahp).    Off  (in  organ-music). 

A  ballata  (It.,  ah  bahl-lah'tah).     In  ballad-style. 

Abandon,  avec  (Fr.,  ah-vek'  ah-bahn-dohn').  See 
Abbandono,  con. 

A  battuta  (It.,  ah  baht-too'tah).  "  With  the  beat ;" 
in  strict  time. 

Abbandonandosi  (It.,  ahb-bahn-doh-nahn'doh-se).  \ 

Abbandonatamente  (It.,  — nah-tah-men'teh).  y 

Abbandono,  con  (It.,  kohn  ahb-bahn-doh'noh).  ' 
Yielding  wholly  to  emotion  ;  with  a  burst  of 
passion  ;  carried  away  by  feeling. 

Abbandonare  (It.,  ahb  -  bahn -doh -nah 'reh).  To 
abandon,  to  quit ;  senza  abbandonare  la  corda^ 
without  quitting  the  string. 

A  bene  placito  (It.,  ah  ba'neh  plah'che-toh).  At 
pleasure;  meaning  that  the  tempo  may  be  al- 
tered, graces  or  cadenzas  added,  or  that  certain 
specified  instruments  may  be  used,  or  not,  at  the 
performers'  pleasure.  [strict  time. 

Abgemessen  (Ger.,  ahp'ge-mes'sen).    Measured;  in 

Abgestossen  (Ger.,  ahp'ge-shtoh'sen).  "Struck 
off";  detached;  staccato. 

Abnehmend  (Ger.,  ahp'na'ment).    DimitiueJido. 

Abschwellen  (Ger.,  ahp'shvel'ien).    Dei,rescendo. 


2  Absolute  music — Accompaniment 

Absolute  music  is  music  born  of  the  delight  in 
combining  musical  tones,  being  a  product  of  the 
musical  faculty  only.     See  PROGRAM-MUSIC. 

Abwechseln  (Ger.,  ahp'vek'seln).  To  alternate... 
Mit  abivechselnden  Mattualen  [mah-noo-ah'len], 
with  alternating  manuals. 

A  cappella  (It.,  ah  cahp-pel'lah).     See  Cappella. 

A  capriccio  (It.,  ah  cahp-prit'choh).  See  Capriccio. 

Accarezzevole  (It.,  ahk-kah-ret-tsa'voh-leh).  ii^^_ 

Accarezzevolmente   (It.,  — tsa-vohl-men'teh).  ' 
ressfully,  caressingh-,  coaxingly. 

Accelerando  (It.,  aht-cheh-leh-rahn'doh),  "Acceler- 
ating."" growing  faster. 

Accelerate  (It.,  aht-cheh-leh-rah't6h\  "Acceler- 
ated." livelier,  faster. 

Accentato  (It.,  aht-chen-tah'toh).  '-Accented 

Accento,  con  (It.,   kohn  aht-chen'toh).  * 
To.SiV'kQd.  ..Accentate  (— tah'teh)    [plural  form  of 
accentata,  or  imperative],  accent  the  notes. 

Accentuando  (It.,  Sht-chen-too-ahn'doh).  Accent- 
ing. 

Accentuare  (It.,  — ah'reh).  To  accent ;  senza  accen- 
tuare,  without  accenting. 

Accentuate  (It.,  — ah'toh).    Accented.  [mently. 

Acciaccato,  -a  (It.,  Sht-chah-kah'toh,  -tah).     "Vehe- 

Acciaccatura  (It.,  aht-chah-kah-too'tah"*.  i.  A  short 
accented  appoggiatura.  —  2.  A  note  a  second 
above,  and  struck  with,  the  principal  note,  and 
instantly  released. 

Accidental.  Anv  chromatic  sign  not  found  in  the 
key-signature, "occurring  in  the  course  of  a  piece. 

Accompagnamento  (It.,  ahk-kohm-pahn-yah-men'- 
toh).     Accompaniment. 

Accompagnement  (Fr.,  ah-kohm-pahn-yu-mahnO- 
Accompaniment. 

Accompaniment.  Any  part  or  parts  v,'hicn  attend 
the  voices  or  instruments  bearing  the  principal 
part  or  parts  in  a  musical  composition.  It  is  ad 
libitum  when  the  piece  can  be  performed  without 
it,  and  obbligato  when  it  is  necessary  to  the  piece. 
...Additional  accompaniments  are  parts  added 
to  a  composition  by  some  other  person  than  its 
original  anthov ..  .Accompaniment  of  the  scale^ 
the  series  of  chords  used  to  harmonize-the  ascend- 
ing or  descending  diatonic  scale. 


Accordance— Adagio 


Accordance.     Same  as  Accordatura. 

Accordando  (It.,  ahk-kor-dahn'doh).  '*  Accordant," 
in  tune.  (In  comic  stage-scenes  it  means,  that 
the  tuning  of  an  instrument  is  imitated  by  the 
orchestra.) 

Accordatura  (It.,  ahk-kor-dah-too'rah).  The  "tun- 
ing,'' or  series  of  tones  according  to  which  a 
stringed  instrument  is  tnned;  g'-d^-a^-e'^  is  the  ac- 
cordutiira  of  the  violin. 

Accordion.  A  free-reed  instrument  mvented  by 
Damian,  of  Vienna,  in  1829.  The  elongated  body 
serves  as  a  bellows,  to  be  drawn  out  and  pushed 
together ;  the  bellows  is  closed  at  either  end  by  a 
keyboard,  that  for  the  right  hand  having  a  dia- 
tonic (or  incomplete  chromatic)  scale,  while  that 
for  the  left  hand  has  2  or  more  keys  for  harmonic 
bass  tones.    (See  Concertina.) 

Accrescendo  (It.,  ahk-kreh-shenMoh).  CRESCENDO. 

Acoustic  (ah-koo'stik)  color.  The  timbre  (charac- 
ter or  quality)  of  a  musical  tone. 

Acoustics.  Musical  acoustics  is  the  science  of 
musical  tones  as  distinguished  from  mere  noises. 
A  tone  of  sustained  and  equal  pitch  is  caused  by 
regular  and  constant  vibrations  of  the  air,  set  in 
motion  by  similar  vibrations  in  the  body  pro- 
ducing the  tone  (for  instance,  a  piano-string,  a 
violin-string,  an  organ-pipe,  or  the  vocal  cords) ; 
while  a  noise  is  caused  by  irregular  and  unequal 
vibrations. 

Action.  In  keyboard  instruments,  the  mechanism 
set  in  motion  by  the  player's  fingers,  or  bv  the 
feet  (organ-pedals).— In  the  harp,  the  "action" 
(a  set  of  pedals)  does  not  directly  produce  the 
sound,  but  changes  the  key  by  shortening  the 
strings  by  a  semitone  or  whole  tone. 

Act-tune.  Music  played  between  the  acts  of  a 
drama  ;  an  entr'acte. 

Acuta  (Lat.,  "sharp,"  "shrill").  In  the  organ,  a 
mixture-stop  having  from  3  to  5  ranks. 

Acute.  High  in  pitch,  sharp,  shrill ;  opposed  to 
Grave. 

Adagietto  (It.,  ah-dSh-jet'toh).  i.  A  movement 
slightly  faster  than  Adagio.— 2.  A  short  Adagio. 

Adagio  (It.,  ah-dah'j6h).  Slow,  leisurely  ;  a  slow 
movement..  .Adagio  adagio,  adagio  assai,  adagio 
molto.  very  slow.  ..Adagio  non  molto^  or  non  tan- 
to.  not  too  slow. 


Adagissimo— Atfabilmente 


Adagissimo  (It.,  ah-dah-jis'se-moh).  Extremely- 
slow. 

Adaptation.     An  Arrangement.  Fmext 

Additional     accompaniments.       See     Accompani- 
Additional  keys.     Those  above/^. 
Addolorato    (It.,  a^ad-doh-loh-rah'toh).     Plaintive ; 

in  a  style  expressing  grief. 
Adel,  mit  (Ger.,  mit  ah'del).  "  With  nobility  ; "  in  a 

lofty  style. 

A  demi-jeu  (Fr.,  ah  du-me-zho').  With  half  the 
power  of  the  instrument. 

A  demi-voix  (Fr.,ah  dii-me-vwah').     Mezza  VOCE. 

A  deux  (Fr.,  ah  do').  A  DUE  ;  a  deux  mains,  for 
two  hands. 

Adiratamente  (It.,  ah-de-rah-tah-men'teh).  An- 
grily. 

Adirato  (It.,  ah-de-rah'toh).     Angry,  wrathful. 

Ad'junct.  Closely  related,  as  one  key  or  scale  to 
another. .  .Adjunct  note,  an  unaccented  auxiliary 
note  not  essential  to  the  harmony. 

Ad  libitum  (Lat.,  "at  pleasure,"  "at  wilT*).  A 
direction  signifying  (i)  that  the  performer  may 
employ  the  tempo  or  expression  that  suits  him  ; 
(2)  that  any  vocal  or  instrumental  part  so  marked 
may  be  left  out,  if  desired  Cadenza  ad  libitum 
means  that  a  given  cadenza  may  be  performed 
or  not,  or  another  substituted  for  it,  at  the  per- 
former's pleasure. 

A  due  (It.,  ah  doo'eh).    See  Due. 

A  dur  (Ger.,  ah  door').  A  major. 

Aengstlich  (Ger.).     See  Angstlich. 

.^olian  harp  or  lyre.  A  stringed  instrument 
sounded  by  the  wind.  It  is  a  narrow,  oblong 
wooden  box,  with  low  bridges  at  either  end, 
across  which  are  stretched  a  number  of  gut 
strings.  The  harp  is  placed  in  an  open  window, 
or  some  other  aperture  where  a  draught  of  air 
will  sweep  the  strings. 

Aequal  (Ger.,  a-kvahl').  A  prefix  to  a  stop-name, 
indicating  that  it  is  an  8-foot  register. 

Aeusserst  (Ger.).    See  AusSERST. 

AfFabile  (It.,  ahf-fah'be-leh).  j 

Affabilita,  con  (It.,  kohn  ahf-fah-be-le-tah').  [■ 

Affabilmente  (It.,  ahf-fah-bel-men'teh).         J 
Sweetly  and  gracefully  ;  suavely. 


Aflfanato— Agitatamente 


Affanato  (It.,  ahf-fah-nah'toh).     Uneasily,  distress- 
fully. 

Affanosamente  (It.,  ahf-fah-noh-sah-men'teh).  Anx« 
iously,  restlessly. 

Affanoso  (It.,  ahf-£ah-noh's6h).     Anxious,  restless- 

Affetto,  con  (It.,  kohn  ahf-fet'toh).  j 

Affettuosamente  (ahf-fet-t66-6h-sah-men'teh).  v 

AfFettuoso  (ahf-fet-too-oh'soh).  ) 

With    passion,   emotion,   feeling;    very   expre* 
sively  ;  tenderly. 

Affezione,  con  (It.,  kohn  ahf-feh-tse-oh'neh).    In  a 
style  expressive  of  tender  emotion. 

Afflitto  (It,,  ahf-flit'toh).     Melancholy,  sad. 

Afflizione,    con  (It.,  kohn  ahf-fle-tse-oh'neh).     Sor- 
rowfully, mournfully. 

Affrettando  (It,,  ahf-fret-tahnMoh),     Hurrying. 

Affrettare     (It.,     ahf-fret-tah'reh).      To   hasten... 
Senza  affrettat'e,  without  hastening. 

Affrettato  (It.,  ahf-fret-tah'toh).     Hurried  ;  tempo 
pin  affrettato^  at  a  swifter  pace. 

Affrettoso  (It.,  ahf-fret-toh'soh).     Hurriedly. 

A  fior  di  labbra  (It.,  ah  fe-or'  de  lahb'brah).    Very 
lightly  and  softly  sung  or  spoken. 

After-beat.     An  ending  to  a  trill,  comprising  two 
notes,  the  lower  auxiliary  and  the  principal  note. 

After-note,     i.  Unaccented  appoggiatura. — 2.  The 
unaccented  note  of  a  pair.  Tbass 

After-striking.     The  reverse  of  Anticipation  by  the 

Agevole  (It.,  ah-ja'v6h-leh).     Easy,  light. 

Agevolezza,  con  (It.,  kohn  ah-ja-voh-let'sah).  |  ^ 

Agevolmente  (It.,  ah-ja-v6hl-men'teh).  f 

ily,  lightly. 

Aggiustatamente     (It.,    ah-j66s-tah-tah-men'teh). 
Strictly  in  time,  [indolently. 

Agiatamente    (It.,    ah-jah-tah-men'teh).      Easily, 

Agilita  (It.,    ah-je-le-tah').  I. 

Agilite  (Fr.,  ah-zhe-Ie-ta'). 
\'\wa.c\\.y ..  .Con  agilita^  in  a  light  and  lively  style. 

Agilmente    (It.,    ah-jel-inen'teh).      Lightly,    viva- 
ciously. 

Agitamento  (It.,  ah-je-t3,h-men'toh).     Agitation. 

Agitatamente  (It.,  ah-je-tah-tah-men'teh).     Excit- 
edly, agitatedly. 


Agitato— Alia  moderna 


Agitato  (It.,  ah-je-tah't6h).  Agitated... A^^ttatc 
con  passione,  passionately  agitated. 

Agitazione,  con  (It.,  kohn  ah-je-t3,h-tse-oh'neh). 
Agitatedly. 

Agraffe  (ah-grahf).  In  the  piano,  a  small  metallic 
support  of  a  string,  between  bridge  and  pin, 
serving  to  check  vibration  in  that  part. 

Agremens  (Fr.,  ah  -  gra  -  mahn').  Harpsichord- 
graces. 

Ai  (It.,  ah'e).     See  ALL'. 

Air.     A  tune  or  melody. 

Air  (Fr.,  ar).  Air,  melody,  tune;  also,  a  song... 
Airs  detaches^  single  numbers  taken  from  operas, 
etc. 

Ais  (Ger.,  ah'iss).    A%  {A  sharp). 

Aisis  (Ger.,  ah'iss-iss).     AX  (A  double-sharp). 

Al  (It.,  ahl).     See  ALL'. 

A  la  mesure  (Fr.,  ah  lah  mii-zurO-     In  strict  time. 

Alberti  bass.     A  bass  in  broken  chords,  like 


S^ 


Album-leaf.  Title  of  a  short  and  (usually)  simple 
vocal  or  instrumental  piece. 

Alcuno,  -a  (It.,  ahl-koo'noh.  -nah).  Some  ;  certain. 
. . .  Con  alcuna  licetiza,  "with  a  certain  freedom  '* 
(as  regards  tempo). 

Air,  Alia  (It.,  ahl,  ahl'lah).  To  the,  in  the,  at 
the,  etc.;  in  the  style  of,  like. 

Alia  breve  (It.,  bra'vSh).  Formerly,  a  time  of 
4  minims  (=i  breve)  to  the  measure.  Now,  4-4 
time  with  2  beats  instead  of  4  to  the  measure, 
and  in  quicker  temoo  ;  time-signature  tjt  -  |ig  . 
also  called  alia  ca'pfella.  Ip        54^* 

Alia  caccia  (It.,  caht'chah).     In  the  hunting  style. 

Alia  camera  (It.,  kah'meh-rah).  In  the  style  of 
chamber-music. 

Alia  cappella  (It.,  kah-pel'lah).     A  Cappella. 

Alia  hanacca  (It.).     Like  a  Hanacca. 

Alia  marcia  (It.).     In  march-style. 

Alia  militare  (It.,  me-le-tah'reh).    In  military  style. 

Alia  moderna  (It.,  moh-dar'nah).    In  modern  style. 


Allargando— Alletnande 


AUargandodt.,  3.hl-lar-gahn'd6h).  Growing  slower. 
Allargare,    senza    (It.,    sen'tsah    Shl-lar-gah'rSh). 

Without  slackening  speed. 
AUargate  (It.,  — gah'tSh).     Go  slower. 
Alia  russa  (It.,  r56s's&h).     In  the  Russian  style. 
Alia  scozzese  (It.,  sk6ht-tsa'zeh).     In  Scotch  style. 
Alia  siciliana  (It.).     Like  a  Siciliana. 
Alia  stretta   (It.),   i.  Growing   faster  and  faster.— 

2.  In  the  style  of  a  Stretta  {or  Stretto). 
Alia  tromba  (It.).  Like  a  trumpet. 
Alia  turca  (It.,  toor'kSh).     In  Turkish  style. 
Alia  veneziana    (It.,   veh-neh-tse-ah'nah).     In  the 

Venetian  style  (like  a  Gondoliera). 
Alia  zingara    (It.,  tsin'gah-r3,h).     In  the  style  of 

Gypsy  music.  [syncopated'style. 

Alia  zoppa   (It.,   tsop'pSh).    Lamely,   haltingly  ;  in 
Allegramente  (It.,  3,hl-]5h-gra.h-men'teh).  Nimbly, 

lightly,   gaily,  vivaciously. 
Allegrettino    (It.,  ahl-leh-gre1:-te'n6h).      i.  A  short 

Allegretto  movement. — 2.  A  tempo  slower  than 

allegretto. 

Allegretto    (It.,    ahl-I6h-gret't6h).       Quite    lively  ; 
moderately  fast  (faster  than  andante,  slower  than 
allegro). 
AUegrezza,  con  (It.,  k6hn  ahl-leh-gret'sSh).  I  ^^Y\\.h. 
Allegria,  con  (It  ,  k6hn  Shl-leh-gre'Sh).  * 

liveliness,  vivacity.  Fidlv 

Allegrissimo  (It.,  ahl-leh-gris'se-m6h).  Very  rap- 
Allegro  (It.,  ahl-la'gr6h).  Lively,  brisk,  rapid. 
An  Allegro  (movement)  is  not  quite  as  fast  as  a 
Presto.  ..Alleffro  assai,  Allef^ro  di  molto,  very  fast 
(usually  faster  than  the  foregoing  movement)... 
Allegro  di  bravura,  a  technically  difficult  piece 
or  passage  to  be  executed  swiftly  and  boldly... 
Allegro  giusto,  a  movement  the  rapidity  of  which 
is  suited  to  its  su  hiect..  .Allegro  risolulo,  rapidly 
and  energetically.  Etc.,  etc. 
Allein  (Ger.,  ahl-lin')-     Alone;  only. 

Allemanda   (It..  Shl-lgh-mahn'dSh).    (       .  n^.r^^r. 

'    >  I.  A  German 

Allemande  (Fr..  ahl-l'-mahn'd).  t 

dance  in  -},-i,  time,  like  the  Landler. — 2.  A  lively 
German  dance  in  2-4  time.— 3.  A  movement  In  the 
Suite  (either  the  first,  or  next  to  the  Prelude)  in 
4-4  time  and  moderate  tempo  (andantino). 


Allentamento — Altieramente 


Allentamento  (It.,  ahl-len-tah-men'toh).  Slowness. 
Allentando    (It.,  ahl-len-tShn'doh).     See  Rallen- 

TANDO. 

AUentato  (It.,  ahl-len-tah'toh).    Slower. 

Air  espagnuola  (It.,  ahl  eh-spahn-yo'lah).  In  the 
Spanish  style. 

Air  inglese  (It.,  Shi  in-gla'zeh).  In  the  English 
style.  [ian  stvle. 

Air  italiana  (It.,  ahl  e-tah-le-ah'nah).     In  the  Ital- 

Allmahlich  (Ger.,  ahl-ma'liyh).  Gradually',  by 
degrees.     (Also  spelled  alhndlilig^  allmalig.) 

AI  loco  (It.,  ahl  lo'koh).  "To  the  place  ;"  a  direc- 
tion following  '*<?ya,"and  meaning  "perform  the 
music  as  written."— Also  directs  a  violinist  to 
return  to  a  former  position  after  a  shift. 

Allonge  (Fr.,  ahl-lohn-zha').  Prolonged  stroke  (of 
tne  bow). 

Allontanando(si)  (It..  ahl-lohn-tah-nahn'dSh  [-se]). 
Withdrawing  ;  dying  away. 

Allora  (It.,  ahl-lohTSh).     Then 

Air  ottava  (It..  Shi  oht-tah'vah).  "  At  the  octave  ;  " 
meaning,  "play  the  notes  an  octave  higher  than 
written."  The  sign  ^a---.^.^-^  or  cSv-^--^^  is 
usually  employed.  ^  [octaves). 

Air  unisono  (It.,  ahl  oo-ne'soh-noh).    In  unison  (or 

Alma,  con  (It.,  kohn  Shl'mah).  With  soul,  spirit; 
loftily  ;  ardently. 

Alt  (from  the  1\..  alto).    Notes  "in  alt"  are  those 


of  the  next  octave  above /2  -^  _ ;   notes  in 

the  octave  higher  than  this,  are  said  to  be  "in 
altissimo." 

Alt  (Ger.,ahlt).     Alto  (voice  or  part). 
Alt-clarinet.    An  alto  clarinet.     (See  ALTO.) 
Alterezza    (It.,  ahl-teh-ret'sah).     Pride;  loftiness. 
Alternamente  (It.,ahl-tar-nah-men'teh).  |  Alte'-nat- 
Alternando  (It.,  ahl-tar-nahn'doh).  ' 

ing,  alternatively. 
Alternativo  (It.,  ahl-tar-nah-te'voh).     See  TRIO  2. 
.A.lt-horn.     The  alto  Saxhorn. 
Altieramente     (It  ,     ahl  te-eh-rah-men'teh).      In   a 

lofty,  majestic  style. 


A Itissimo  -Amoroso 


Altissimo(It.,ahl-tis'se-m6h).  Highest.  (See  ALT.) 
Alto  (from  the  It.alto).  i.  The  deeper  of  the  two 
main  divisions  of  women's  or  boys'  voices,  the 
Soprano  being  the  higher.  (Also  called  Con- 
tralto.) Ordinary  compass  from  ^  to  ^2  ;  invoices 
of  great  range,  down  to  d  and  up  iof^,  or  even 
higher. — 2.  An  instrument  of  similar  compass  ; 
as  the  alto  Saxhorn.— 3.  The  counter-tenor  voice. 
— 4.  The  viola,  or  tenor  violin. 
Alto, -a  (It.,  ShKtoh.-tah).    W\^\\... Alfa  viola,  tenor 

\-\o\\n...Otlava  alta,  an  octave  higher. 
Alto-clef.     A  C-clef  on  the  3d  line. 
Altro,  -a  (It,,  ^hl'troh,  -trSh).    Other... ^//r/,  Altre, 

others. 
Alzando  (It.,  ahl-ts3,hnM6h).    Raising. .  .Alzando  un 

po'  la  voce,  raising  the  voice  a  little 
Am  (Ger.,  Shm).    By  the.  r^jg^ 

Amabile  (It.,  Sh-mah'be-leh).     vSweet,  tender,  gen- 
Amabilita,  con  (It.,  kohn  ah-mah-be-le-tah').  W.ith 

sweetness  ;  tenderly. 
Amaramente  (It.,  ah-mah-rah-men'teh).  j 
Amarevole  (ah-mSh-ra'voh-leh).  V Bitterly; 

Amarezza,  con  (kohn  ah-mSh-ret'sah).     ' 

mournfully,  grievingly. 
Amarissimamente   (It.,  ah-m5h-ris-se-mah-men'-  | 
Amarissimo  (It.,  ah-mah-ris'.se-moh).  [teh).  f 

\'ery  bitterly,  with  great  anguish. 
Amateur  (Fr.,   Sh-mah-tor')-      A   "lover"   of    art, 
who,  while  possessing  an  understanding  for  and 
a  certain  practical  knowledge  of  it,  does  not  pur- 
sue it  as  a  profession. 

American  organ.     See  Reed-ORGAN. 

A  mezza  ana  (It.,  Sh  med'zah  ah're-Sh).     Halfway 
between  an  aria  and  a  recitative. 

A  mezza  voce  (It.,  voh'cheh).     With  half  the  power 

<.f  the  voice  (or  an  instrument). 
A  moll  (Ger.,  ah  mohl').     A  minor. 
Amor;,  con  (It.,  kohn  ah-moh'reh).     "] 

Amorevole   (ah-m6h-ra'v6h-leh).  !    . 

Amorously; 


Amorevolmente(— ra-v6hl-men'teh). 
Amorosamente  f— rc'jh  sSh-men'teh).  J 

lovingly,  fondly,  devotedly,  tenderly.  [fond. 

Amoroso  (It.,  ah-moh-roh's6h).     Amorous  ;  loving, 


*An— Anglaise 


An  (Ger.,  ahn).     On,  by  ;  "add"  (in  organ-music). 

Anacru'sis  (Greek).  One  or  two  light  (unaccented) 
syllables  beginning  a  verse  of  poetry  ;  in  music, 
it  means  a.  part  of  a  measure  with  which  a  piece 
of  music  begins,  the  piece  thus  not  beginning  on 
the  strong  beat.     (See  Auftakt.) 

An'apest.  A  metrical  foot  of  three  syllables, 
2  short  and  i  long ;  w  w  — 

Anche  (Fr.,  ahnsh).  Reed.../^«  d'anches  [zho 
dahnsh],  reed-stop. 

Anche  (It.,  ahn'keh).    Also,  too,  likewise  ;  even. 

Ancor  (It.,  ahn-kohr').  \  ^gain,  also,  yet,  still, 

Ancora  (It.,  ahn-koh'rah).    ' 
'^\QXi.  ..Ancor   piu    mosso,    still   faster,  ..Ancora 
piano,    continue    singing  (or   playing)   softly... 
Ancora  piu  piano,  still  more  softly. 

Andacht,  mit  (Ger.,  mit  ahn'daht).    |    with  devo- 

Andachtig  (Ger.,  ahn'deyh'tiyh).        ' 
tjon  ;  devotionally,  devoutly. 

Andando  (It.,  ahn-dahn'doh).  "Going  on  ;"  easy 
and  flowing. 

Andante  (It.,  ahn-dahn'teh).  "  Going,"  "  moving  ;" 
a  tempo-mark  indicating  a  moderately  slow, 
easily  flowing  movement  between  adagio  and 
allegretto.— Andante  affettuoso.,  rather  slowly, 
and  pathetic. .  .A.  cantabile,  flowingly,  in  a  sing- 
ing style... .-i.  con  moto,  A.  mosso,  A.  un  poco 
allegretto,  a  flowing  and  rather  inore  animated 
movement...^.  7ion  troppo,  easily  flowing,  but 
not  too  fast. .  .^.  ■>naestoso,  a  flowing  and  stately 
movement. .  .^-j.  pastorale,  flowing  with  tranquil 
simplicity...^,  sostennto,  rather  slow,  flowing 
svaooihly ...Meno  andante,  slower. 

Andantemente  (It.,  ahn  -  dahn  -  teh  -  men  '  teh). 
Smoothly  and  flowingly. 

Andantino  (It.,  ahn-dahn-te'noh).  This  word  is  a 
dimmutive  of  Andante,  and  means,  properly,  a 
little  slower  than  andante;  but  it  is  often  used  as 
if  meaning  a  little  faster. 

Andare  (It.,  ahn-dah'reh).  To  move  on. .  .Andare 
diritto,  go  straight  on... Andare  in  tempo,  keep 
strict  time. 

Anfang  (Ger.,  ahn'fahng'^).  Beginning...  Votn  An- 
fang,  same  as  Da  CaP'  >. 

Anglaise  (Fr.,  ^hn-glaz').  The  English  country- 
dance. 


Angoscia— Antecedent  ii 


■■( 


Angoscia,  con  (It.,  k6hn  &hn-g6h'sh5.h). 

Angosciosamente    (5.hn-g6h-sh6h-sa.h-men'teh). 

Angoscioso  (It.,  3.hn-g6h-shoh's6h). 
With  anguish,  with  agony  of  mind. 

Angstlich  (Ger.,  engst'liyh).    Anxiously,  fearfully. 

Anhang  (Ger.,  Shn'ha.hng'').     Coda,  codetta. 

Anima,  con  (It.,  kohn  ah'ne-mah).     ANIMATO. 

Animando  (It.,  ah-ne-mahn'doh).  With  increasing 
animation;  growing  liveUer ..  .Animando  e  cre- 
scendo, growing  livelier  and  louder ..  .Animando 
sempre  {pii'i),  growing  more  and  more  animated. 
...Animando  tin  poco,  with  somewhat  more  ani- 
mation.. .La  stesso  tempo  e  animando  setnpre piiiy 
the  same  rate  of  speed,  with  ever-increasing 
animation  (of  expression). 

Animate  (It.,  3,h-ne-mah'toh).  With  spirit,  spirit- 
edly, vivaciously.  ..^w/wa/^  a'//)i«,  with  greater 
animation. 

Animosissimamente    ( — sis-se-mah-men'teh).  \ 

Animosissimo  (It.,  ah-ne-moh-sis'se-moh).       ' 
With  the  utmost  animation,  spirit,  boldness. 

Animoso  (It.,  ah-ne-moh'soh).    Animated,  spirited. 

Anmut(h),    mit    (Ger.,.  ahn'moot).   |    ^j^^^   grace, 

Anmut(h)ig  (Shn'moo'tiyh).  ' 

charm;  gracefully,  suavely. 

Anom'aly.     The  slight  deviation  from  true  pitch 
caused  by  tempering  intervals  on  fixed-tone  in- 
struments ;  hence,  an  anomalous  chord  is  a  chord 
containing   an    interval    rendered,   by    unequal 
tempering,  extremely  sharp  or  fiat. 
Anschwellen    (Ger.,  Shn'shvel'len).    To  swell,  in- 
crease in  loudness. 
Anschwellend  (Ger.,  —lent).     Crescendo. 
Ansieta,  con  (It.,  kohn  Shn-se-eh-tah').  j 
Ansiosamente(5.hn-se-6h-sah-men'teh).  >In  a  style 
Ansioso  (It.,  ahn-se-oh'soh).  ' 

expressive  of  anxiety  or  hesitation. 

Answer.  In  a  fugue,  the  taking-up  by  the  second 
part  (at  a  different  pitch)  of  the  subject  proposed 
by  X.'he  first  part. 

Antecedent.  The  theme  or  subject  of  a  canon  or 
fugue,  as  proposed  by  the  first  part ;  the  Leader. 
Also,  any  theme  or  motive  proposed  for  imita- 
tion, or  imitated  further  on. 


Anthem— Appoggiando 


Anthem.  A  piece  of  sacred  vocal  music  usually 
founded  on  biblical  words,  with  or  without  in- 
strumental accompaniment,  and  of  moderate 
length. 

Anticipation,  The  advancing  of  one  or  more  of 
the  parts  constituting  a  harmony  before  the  rest ; 
which  part  or  parts  would,  if  a^U  the  parts  pro- 
gressed together,  enter  later. 

Antico  (It.,  ahn-te'koh).  Antique,  ancient.  ...(4/- 
I'antico,  in  the  ancient  style. 

An'tiphon,  or  An'tiphone.  Originally,  a  respon- 
sive system  of  singing  by  two  choirs  (or  divided 
choir)i  an  early  feature  in  the  Catholic  service  of 
song;  later  applied  to  responsive  or  alternate 
singing,   chantmg,  or  intonation  in   general,  as 

Eractised   in   the    Greek,  Roman,  Anglican   and 
utheran  churches. — Also,  a  short  sentence,^en- 

erally  from   Holy    Scripture,   sung  before  and 

after' the  Psalms  for  the  day. 
Antiph'onal.     i.  A  book  or  collection  of  antiphones 

or  anthems. — 2.   In  the  style  of  an   antiphone; 

responsive,  alternating. 
Antiph'ony.     Respon.sive  singing  by  two  choirs 

(or  divided  choir)  of  alternate  verses  of  a  psalm 

or  anthem. 
Anwachsend  (Ger.,  ahn'vahk'-sent).     Crescendo. 
Aperto  (It.,  ah-par'toh).  "Take  the  loud  pedal."... 

Allegro    aperto,    an    alleg'^o    with    broad,  clear 

phrasing. 
Aph'ony.     Loss  of  voice.  [steadiness. 

Aplomb  (Fr.,  ah-plohn'j-    Coolness,  self-possession, 
Appassionamento(It.,ahp-pahs-se-6h-nah-men't6h). 

Passion,  ardor.  [sionately,  ardently. 

Appassionatamente  (It., — nah-tah-inen'teh).     Pas- 
Appassionato,  -a(It.,— nah'toh,  -tah).  Impassioned, 

with  passion. 
Appena  (It.,  ahp-pa'nah).      Hardly,   very   little... 

Appena  anhnajido,  a  trifle  more  animated..  ..^2)- 

pe?ta  f?teno,  a  very  little  slower . . .  Appena  sensibue^ 

hardly  audible. 

Appenato  (It.,  ahp-peh-nah'toh).  Distressed  ;  in  a 
style  e-xpressive  of  distress  or  suffering. 

Appoggiando  (It.,  ahp-pohd-jahn'doli).  "  Leaning 
on,"  ••  supported."  Said  of  a  ■•■one  (note)  gliding 
over  to  the  next  without  a  break,  like  an  appog- 
giatura  or  the  portamento. 


Appoggiato— Arch- 


13 


J  r$  r  « 


Appoggiato    (It.,    ahp- p6hd- jah'tSh).       "Leaned 
against,"    "supported." 
Calls  for  same  style  of  exe- 
cution as  AppLii^f^iando.  In 
the  following  example,  it  is 

equivulant  to  mezzo  /e^a/o.  ^ -^ 

appoggiato  e  piano 

Appoggiatura  (It.,  ahp-pohd-jah-too'rah).     An  ac- 
.  cented  appofi'giaturd  is  a  grace-note  which  takes 
the  accent  and  part  of  the  time-value  of  the  fol- 
lowing principal  note.     The  long  appoggiatura  : 


performed 


1^ 


:^ 


is  seldom  written  now  ;  the  sJioi't  appoggiatura , 
zr.  is  performed 


The  unaccented 
Poggiatura,  wri 
thus: 


^^^^ 

-*^^   .  T- 

Lt-J 

tten  ^^^ 


and 
performed 


'mm 


For 


For 


takes  its  time- value  from  the  /r^C(?rf/«^ principal 
note,  to  which  it  is  smoothly  bound. 

A  punta  d'  arco  (It.,  ah  p56n'tah  dar'kSh).  With 
the  point  of  the  bow. 

A  quatre  mains  (Fr.,  Sh  kSh'tr  man).  I 

A  quattro  mani  (It.,  Sh  kw^ht'troh  mah'ne).  ^ 
hands  ;  duets  on  piano  or  organ. 

A  quatre  voix  (Fr.,  ah   kSh'tr  vwSh).  ) 

A  quattro   voci    (It.,  Sh  kwaht'troh  voh'che).  ^ 
4  voices  or  parts. 

Arbitrio  (It.,  ar-be'tre-(5hV  Will,  pleasure. ..y| 
suo  arbitrio.  at  your  pleasure. 

Arcato  (It..  ar-kah't(5h).     With  the  bow. 

Arch-  (Engl.),  Archi-  (Lat..  ar'keK  Arci-  (It.,  ar'che). 
A  prefix  signifying  "chief,  preeminent,"  former- 
ly applied  to  instruments  in  the  sense  of  "  larg- 
est," and  to  official  titles  in  the  sense  of  "head." 
—Archchanter.  precentor..  .Archlufe  (Fr.,  Archi- 
luth  [ar-she-hVt'l;  It.,  Arciliuto  [ar-che-le-oo'tSh]), 
a  large  kind  of  bass  lute. 


14  Arco— Armoniosaraente 

Arco  (It.,  ar'koh).  Bow. .  .Arco  ingiu  O'oo');  down- 
bow  ;  arco  in  su  (soo'),  up-bow.  XaX^ 

Ardente  (It.,  ar-den'teh).     Ardent,  fiery,  passion- 

Ardentemente  (It.,  ar-den-teh-men'teh).    Ardently. 

Arditezza,  con  (It.,  kohn  ar-de-tet'sah).  With  bold- 
ness, boldly,  spiritedly. 

Ardito  (It.,  ar-de'toh).     Bold,  spirited. 

Ardore,  con  (It.,  kohn  ar-doh'reh).  With  ardor, 
warmth. 

Aretinian  syllables.  The  syllables  tit,  re,  mi\  fa^ 
sol,  la,  first  used  to  name  the  tones  of  the  hexa- 
chord  by  Guido  d'Arezzo  (Guido  Aretinus). 

Aria  (It.,  ah're-ah,  plural  Arie  [ah're-eh]).  An  air, 
song,  tune,  melodv.  The  j^rand  or  da-caf>o  aria 
(Aria  grande  [grahn'deh])  is  in  3  divisions  :  (I) 
The  theme,  fully  developed  ;  (II)  a  more  tran- 
quil and  richly  harmonized  section  ;  (III)  a  repe- 
tition da  capo  of  the  first,  with  more  florid  orna- 
mentation, [aria. 

Aria  bufFa  (It.,  b66f'f5.h).     A  comic  or  burlesque 

Aria  concertante  (It.,  kohn-char-tahn'teh).  An 
aria  for  concert-singing,  with  obbligato  instru- 
mental accompaniment. 

Aria  da  chiesa  (It.,  dah  k'y^'zah).     Church  aria. 

Aria  da  concerto  (It.,  dah  kohn-char'toh).  An  aria 
for  concert-singing. 

Aria  d'  entrata  (It  .  den-trah'tah).  An  aria  sung 
by  any  character  in  an  opera,  on  his  or  her  first 
entrance. 

Aria  di  bravura  (It.,  de  brah-voo'rah).  An  aria  re- 
plete with  ornaments  and  difficulties  for  showir^ 
off  the  singer's  skill. 

Aria  di  sortita  (It.,  de  sohr-te'tah).    See  SORTITA. 

Arie  (Ger.,  ah're-e.)     Aria. 

Arietta  (It.,  ahre-et'tah).  \ 

Ari...e  (Fr.,  .h-rS-et',.  LtTt  ada°^  ^™^' 

Ariettina(It.,  ah-re-et-te'nah).  ' 

Arioso  (It.,  ah-re-oh's6h).  In  vocal  music,  a  style 
between  aria  and  recitative  ;  or,  a  short  melodi- 
ous strain  interrupting  or  ending  a  recitative. — 
Also,  an  impressive,  dramatic  style  suitable  for 
the  aria  grande;  hence,  a  vocal  piece  in  that 
style.— In  instrumental  music,  the  same  as  ca«- 
tabile.  [Harmoniously. 

Armoniosamente  (It.,  ar-moh-ne-6h-sah-men'teh). 


Armonioso — A  tempo  15 

Armonioso  (It.,  ar-moh-ne-oh's6h).     Harmonious. 

Arpeggiando  (It.,  ar-ped-j3,hn'd6h).  Playing  in 
hari)-.style  ;  sounding  broken  chords. 

Arpeggiato  (It.,  ar-ped-jah'toh).  Arpeggiated,  ar- 
peggio'd. 

Arpeggio  (It.,  ar-ped'j6h ;  plural  Arpeggi  [ar- 
ped'jej).  Playing  the  tones  of  a  chord  in  rapid, 
even  succession  ;  playing  broken  chords.  Hence, 
a  chord  so  played  ;  a  broken  or  spread  chord,  or 
chord-passage. 

Arrangement.  The  adaptation  of  a  composition 
for  performance  on  an  instrument,  or  b}'  any 
vocal  or  instrumental  combination,  for  which  it 
was  not  originally  written.  Hence,  any  compo- 
sition so  adapted  or  arranged. 

Arsis  (Greek).     Up-beat. 

Articolato  (It.,  ar-te-koh-lah'toh).  "Articulated": 
hen  articolato,  clearly  and  neatly  pronounceci 
and  phra.sed.  ^stopped  ^tvmz. 

Artificial    harmonics    are    those    produced    on    a 

Artiglich  (Ger.,  ar'tlyh-lTyh).  Prettily,  neatly, 
gracefully. 

As  (Ger.,  ahss).     A\>  {A  flat).  \<!\a.\.. 

Asas,  or  Ases  (Ger.,  a.hss'ahss,  Shss'ess).   A  Double- 
As  dur  (Ger.,  door).     Aj  major. 

As  moll  (Ger.,  mohl).     A\y  minor. 

Asprezza,  con  (It.,  kohn  ah-spret's3,h).  With 
harsliness;  harshly,  roughly. 

Aspro  (It.,  ah'sproh).     Harsh,  rough. 

Assai  (It..  3.hs-sah'e).  Yevy . .  .Allej^ro  assa<.  very 
fast . . .  Adasrio  assai,  very  slow . . .  Assai  ynoderatb, 
vt-ry  moderate. 

Assez  (Fr.,  3.hs-sa').    Enough;  rather. 

Assottigliando  (It.,  ah-soh-te-l'yahn'dSh).  Dimin- 
isliiiig,  softening. 

A-string.  The  2d  string  of  a  violin;  the  ist  of  a 
viola,  or  'cello  ;  the  3d  of  a  double  bass ;  the  5th 
of  a  guitar. 

A  suo  arbitrio  (It.,  Sh  soo'i5h  ar-be'tre-6h).         \ 

A  suo  bene  placito  (It.,  b§,'neh  plah'che-t6h).  >■    At 

A  suo  comodo  (It.,  k6h'm6h-d6h).  ' 

the  pleasure  or  discretion  of  the  singer  or  player. 

A  tempo  (It.,  ah  tem'p6h).  In  time  ;  at  the  preced- 
ing rate,  of  speed. 


i6  Athemljs— Authentic  melody 

At(h)emlos  (Ger.,  ah'tem-lohs).     Breathlessly. 

Attacca  (It.,  aht-tahk'kah).  "Attack"  or  be;  •». 
what  follows  without  pausing,  or  with  a  vt  j 
short  pause... AUacca  (or  attaccate  [aht-tahk- 
kah'teh])  subito,  attack  instantly. 

Attacco  (It,  aht-tahk'koh).  Attack ;  stroke  of  the 
glottis.  [passage  or  piece. 

Attack.     The  act  (or  style)  of  beginning  a  phrase, 

Attendant  keys  of  a  given  key  are  its  relative 
major  or  minor,  together  with  the  keys  of  the 
dominant  and  subdominant  and  their  relative 
major  or  minor  keys.  For  instance,  the  attendant 
keys  of  Cmajor  are  a  mmor,  6^  major,  f  major, 
e  minor,  and  d  minor. 

Attenzione,  con  (It.,  kohn  Sht-ten-tse-oh'neh> 
"  With  attention  ; "  in  a  marked  style  ;  signifi= 
cantly. 

Audacia,  con  (It.,  kohn  ah-oo-dah'chSh).  With 
boldness.  [excitedly. 

Aufgeregt     (Ger.,     owf'ge-rayht').        Agitatedly; 

Aufgeweckt  (Ger.,  owf'ge-vekt').  Lively ;  ani- 
matedly, briskly.  [impetuously. 

Aufschwingend  (Ger.,  owf'shving'ent).  Soaringly, 

Aufschwung  (Ger.,  owf'shvoong^).  Lofty  flight, 
soaring  impetuosity  ;  mit  Aufschwung.,  in  a 
lofty,  impetuous,  impassioned  style. 

Auftakt  (Ger.,  owf'tahkt).  Up-beat,  anacrusis;  a 
fractional  measure  beginning  a  movement,  piece, 
or  theme. 

Augmentation.  Doubling  (or  increasing)  the  time- 
value  of  the  notes  of  a  theme  or  motive  in  imita- 
tive counterpoint. 

Augmented  intervals.     See  INTERVAL. 

Aumentando  (It.,  ah-66-men-tahn'd6h).  CRE- 
SCENDO. 

Ausdruck  (Ger.,  ovvs'drook).  Expression. .  .il/iV 
intiigem  Ausdruck.,  with  heart-felt  expression. 

AusdrucksvoU  (Ger.,  ows'drooks-fohr).  Expres- 
sively. 

Authentic.  Within  the  compass  of  an  octave 
above  the  keynote. 

Authentic  cadence.     See  CADENCE. 

Authentic  melody,  one  whose  range  covers  all,  or 
nearly  all,  the  octave-scale  above  its  tonic  or 
final  ;   opposed  to  Plagal. 


Authentic  mode— Balance  swell-pedal         17 

athentic  mode.  In  an  attZ/r^w/zV  church-mode,  the 
keynote  is  the  lowest  tone;  in  a  p/a^a/  mode,  the. 
keynote  is  a  Fourth  above  the  lowest  tone. 

Authentic  part  of  the  scale,  that  part  lying  be- 
tween the  keynote  and  its  higher  dominant  ;  the 
part  between  keynote  and  lower  dominant  being 
called  plagal. 

Auxiliary  note.  A  note  not  essential  to  the  har- 
mony or  melody;  particularly,  a  grace-note  a 
Second  above  or  below  a  given  melody-note. 

Auxiliary  scales.     Those  of  attendant  keys. 

Auxiliary  stop.     See  STOP. 

Avec  (Fr.,  ah-vek').  '^\\.\v. .  .Aver,  ^w^  [ahm],  the 
same  as  fi?;/  anima...Avec  l.e  chatit  [shShn],  the 
same  as  co!  canto. 

Avoided  cadence.     See  CADENCE. 

A  volonte  (Fr.,  ah  v6h-16hn-ta0.     At  pleasure. 


B 

B.  I.  (Ger.  i^;  Fr.  and  It.  ji").  The  seventh  tone 
and  degree  in  the  typical  diatonic  scale  of  C 
major. -2.  In  musical  theory,  capital  B  desig- 
nates the  ^-major  triad,  small  b  the  ^-minor 
triad.— 3.  For  BB,  B,  b,  bi,  b2  (b',  b",  b),  etc.,  see 
Pitch,  absolute.— 4.  In  German,  B  stands  for 
By.—S-  B.  is  also  an  abbreviation  for  Bass  or 
Basso  {c.  B.  =  co\  Basso;  B.  C.  =  basso  continuo). 

Bachelor  of  (or  in)  Music.  The  lower  of  the  aca- 
demical musical  degrees,  Doctor  of  Music  being 
the  higher. 

Backfall.  An  obsolete  grace,  played  like  an  ac- 
cented appoggiatura. 

Backturn.     See  TURN. 

Bagpipe.  A  very  ancient  wind-instrument  of 
Eastern  origin,  still  popular  in  Great  Britain. 
The  commonest  form  has  ^  pipes  ;  3  drones  (sin- 
gle-reed pipes  tuned  to  a  given  tone,  its  fifth  and 
its  octave,  respectively,  and  sounding  on  contin- 
uously),  and  i  chanter  or  melody-pipe  (a  double- 
reed  pipe  with  6  or  8  holesj,  on  which  the  tune  is 
played.  The  "  bag"  is  a  leathern  sack,  filled 
with  wind  either  from  the  mouth  or  from  small 
bellows  worked  by  the  player's  arm  ;  the  pipes 
are  inserted  in  and  receive  wind  from  the  bag. 

Balance  swell-pedal.     See  PEDAL. 


x8  Baldaraente— Bandola 

Baldamente  (It.,  bahl-dah-men'teh).    Boldly. 

Ballabile  (It.,  bahl-lah'be-leh).  i.  A  piece  of 
dance-music. — 2.  Ballet-music— 3.  In  the  style  of, 
or  suitable  tor,  dance-music. 

Ballad.  Originally,  a  song  intended  for  a  dance- 
accompaniment  ;'  hence,  the  air  of  such  a  song. — 
In  modern  usage,  a  ballad  is  a  simple  narrative 
poem,  generally  meant  to  be  sung.— As  a  purely 
musical  term,  it  was  originally  applied  to  a  short, 
simple  vocal  melody,  set  to  one  or  more  stanzas, 
with  a  slight  instrumental  accompaniment.  It 
now  includes  instrumental  melodies  of  a  similar 
character  ;  also  compositions  for  single  instru- 
ments, or  for  orchestra,  supposed  to  embody  the 
idea  of  a  narrative. 

Ballade  (Ger.,  bahl-lah'de).  I  ^  ballad 

Ballade  (Fr.,  bahl-lahd').       ^ 

Balladenmassig  (Ger.,  bahl-lah'd'n-ma'siyh).  In 
ballad-style. 

Ballad-opera.  An  opera  chiefly  made  up  of  bal- 
lads and  folk-songs. 

Ballata  (It.,  bahl-lah'tah).  A  ballad.—^  ballata, 
in  ballad-stj'le. 

Ballet  (bal-lay',  or  bal-let')-  i-  A  spectacular 
dance  introduced  in  an  opera  or  other  stage- 
piece. — 2.  A  pantomime,  with  music  and  dances 
setting  forth  the  thread  of  the  story. 

Ballet  (Fr.,  bahl-laO.        I  a  ballet. 

Ballett  (Ger.,  bahl-let').  ' 

Balletto  (It.,  bahl-let'toh).  i.  A  ballet.— 2.  The 
title  of  an  Allegretto  by  Bach,  in  common  time. 

Ballo  (It.,  bahl'loh).  A  dance  ;  a  haUet... Ba//i 
inglesi^  English  dances Balli  unffaresi^  Hun- 
garian dances..  .Z>ii  ballo^  in  dance-style,  light 
and  spirited. 

Band.  i.  A  company  of  musicians  playing  mar- 
tial music  (brass-band,  military  band).— 2.  An 
orchestra.— 3.  A  section  of  the  orchestra  playing 
instruments  of  the  same  class  (brass-band,  string- 
band,  wind-band,  wood-band). 

Banda  (It.,bahn'dah).  i.  A  military  band.— 2.  The 
brass  wind-instruments,  and  the  instruments  of 
percussion,  in  the  Italian  opera-orchestra. — 3. 
An  orchestra  playing  on  the  stage. 

Bandmaster.     Conductor  of  a  military  band. 

Bandola  (Spanish,  bahn-doh'lah).     [Also  the  Ban^ 


Banjo -Bass  ig 


do/on,  Bandora,  Bandura.]  Instruments  of  the 
lute  family,  with  a  greater  or  smaller  number  of 
steel  or  gut  strings,  and  played  with  a  plectrum 
("pick");  all  very  similar  to  the  Mandolin. 

Banjo.     A  kind  of  guitar  common  in  the  U.  S. 

Bar.  I.  A  vertical  line  dividing  measures  on  the 
staff,  and  indicating  that  the  strong  beat  falls  on 
the  note  just  after  it. — 2.  The  popular  name  for 
"measure"  (the  notes  and  rests  contained  be- 
tween two  bars).  (N.B.— It  is  better  to  call  a  bar 
a  bar,  and  a  measure  a  measure.) 

Barbaro  (It.,  bar'bah-roh).     Same  as  Feroce. 

Barcarole  (— rol').  i.  A  gondoliera  ;  song  of  the 
Venetian  gon'loliers.— 2.  A  vocal  or  instrumental 
solo,  or  concerted  piece,  imitating  the  Venetian 
boat-songs,  and  usually  in  6-8  time  (Chopin's,  for 
piano,  is  in  12-8  time). 

Barcarola  (It.,  bar-ka.h-r6'13.h).  ^ 

Barcarole  (Ger.,  bar-ka,h-roh'Ie). 

„  .,     /r-      ,.       ,  -,      -,  ,..  r  •A.  barcarole. 

Barcarolle  (Fr.,  bar-kah-rohl').  j 

Barcaruola  (It.,  bar-kah-r66-6'iah).  J 

Bare  fifth,  octave.     See  NAKED. 

Bariolage  (Fr.,  bSh-re-oh-iah'zh).  i.  A  medley.— 
2.  A  group  of  several  notes  played  in  the  same 
position  on  2,  3,  or  4  strings  (violin). 

Baritone,  i.  The  male  voice  between  bass  and 
tenor,  and  more  or  less  similar  in  quality  to  both. 
Compass  from  6^to/i.  Also,  a  singer  having  such 
a  voice.— 2.  A  bow-instrument  like  the  viola  da 
gatnba. — 3.  The  Euphonium  (bass  Saxhorn). 

Baritone  clef.     The  obsolete  /-'-clef  on  the    ^-y. 

third  line:  ^' 

Barocco  (It.,  bSh-rohk'koh).  Eccentric,  strange, 
odd.  whimsical. 


Barre  (Fr  ,  bar-ra')  In  lute-  or  guitar-playing, 
tlie  st()pping  of  several  or  all  the  strings  with  the 
left-hand  forefinger.— 6Va«(/  [grShn]  barre,  a 
stop  of  more  than  3  strings. 

Barrel-organ.  A  species  of  mechanical  organ. 
The  Orchestrion  is  a  large  kind  of  barrel-organ. 

Barytone.     Another  spelling  of  Hariton'K. 

Biis.     I.  The  lowest  tone  in  a  chord,  or  the  lowest 


Bass — Beat 


part  in  a  composition. — 2.  The  lowest  male  voice ; 
ordinary  compass  from                              f^z,  r^^^\ 
F\n  ^1  ("or  d^\ :  extreme  -tt^. 7- V '  — 


^to  c^  (or  d^) ;  extreme  7557 
compass  from  C  to  e^  :  '^- 
-3.     A    singer    having 


such  a  voice.  (-<S'-) 

Bass  (Ger.,  bahs).  Besides  the  3  English  meanings 
given  above,  it  denotes  (a)  an  old  bow-instrument 
between  'cello  and  double-bass,  with  5  or  6 
strings  ;  (i5')the  same  as  Kontrabass  (double-bass); 
(c)  at  the  end  of  the  name  of  an  organ-stop,  it 
means  that  the  stop  is  on  the  pedal  (for  example, 
Gemshornbass). 

Bass-bar.  In  violins,  etc.,  a  long,  narrow  strip  of 
wood  glued  to  the  inner  surface  of  the  belly 
parallel  with  and  just  beneath  the  6^-string,  put 
in  to  strengthen  the  belly  and  equalize  vibration. 

Bass  clef,     i^-clef  on  the  4th  line  :    ^: 

Basse  (Fr.,  bahs).     Bass. 

Basset'-horn.  A  tenor  clarinet  of  mellow,  though 
sombre,  timbre,  with  a  compass  from  Fto  c^. 

Basso  (It.,  bahs'soh).     Bass  ;  also,  the  double-bass. 

Basso  buffo  (It.,  boof'foh).     A  comic  bass.        [tone. 

Basso  cantante  (It.,  kahn-tahn'teh).     A  bass-bari- 

Basso  continue  (It.,  kohn-te'noo-oh).  Bas«  notes 
provided  with  figures  indicating  the  chords  to  be 
played  above  the  bass  notes. 

Basso  giusto  (It.,  joo'stoh).     A  basso  cantante. 

Basso  obbligato  (It.,  ohb-ble-gah'toh).  An  indis- 
pensable bass  part  or  accompaniment. 

Bassoon.  A  wood-wind  instrument  of  the  oboe 
family  ;  the  double  tube  bears  the  long,  curving, 
metallic  mouthpiece  with  ,    > 

its  double-reed.  Compass    ^:  ~jt    ^.—\—i- 

from  Bi\}  to  c^,  or  even 
to/2: 
Tone  soft  and  mellow.  "z?" 

Basso  ostinato  (It.,  6h-ste-nah't6h).     Ground  bass. 

Basstuba  (Ger.,  bahs'too'bah).     See  TUBA  2. 

Baton  (Fr.,  bah-tohnO-     A  conductor's  wand. 

Battuta  (It.,  baht-too'tah).  Beat;  downbeat; 
measure. .  .A  battuta^  in  strict  time. 

Beat.  I.  A  movement  of  the  hand  in  marking 
("beating")  time.— 2.  A  division  of  a  measure 
marked  by  a  beat. — 3.  In  a  trill,  the  pulsation  of 


i^p 


Beating-  reed— Belly 


2  consecutive  tones.— 4.   An  appojefgiatura. — 5.  A 

throbbing  caused  by  the  interfering  tone-waves 

of  2  tones  of  different  pitch. 
Beating  reed.     See  Reed.  [(plural). 

Becken(Ger.,  bek'en).  Cymbal  (singular);  cymbals 
Bedeutungsvoll  (Ger.,  be-dahii'toongs-fohl')-    Full 

of  meaning  ;  significantly. 

Begeisterung,  mit  (Ger.,  mit  be-gi'st§-r66ng^). 
With  enthusiasm,  spirit. 

Begleitung  (Ger.,  be-gli'toong'').    Accompaniment. 

Behagiich  (Ger.,  be-hahg'liyh).  Easily,  comfort- 
ably ;  comodo. 

Beklemmt(Ger.,  be-klemt')-  [Properly  dei/ommen.] 
Anxious,  oppressed.     [Beethoven.]' 

Bel  canto  (It.,  bel  kShn'toh).  The  art  of  beautiful 
song,  as  exemplified  by  the  finest  Italian  singers 
of  the  iSth  and  19th  centuries,  and  their  pupils  or 
imitators.  Opposed  to  Recitative,  and  to  the 
"declamatory"  style  of  singing  brought  into 
such  prominence  by  Wagner.  [mandO. 

Belebend  (Ger.,  bS-la'bent).     R.WVIVANDO.     Ani- 

Belebt  (Ger.,  bS-lapt').   ANIMATO  ;  animated, brisk. 

Bell.  A  hollow  metallic  instrument  of  percussion, 
sounded  by  a  clapper  hanging  inside,  or  a  ham- 
mer outside. — Also,  the  flaring  end  of  various 
wind-instruments. 

Bell-diapason.      An  organ-stop,   usually   of  8-foot 

pitch,  with  open,  bell-mouthed  pipes. 
Bellezza,  con  (It.,  k6hn  bel-let'sah).    With  beauty; 
gracefully,  suavely.  [surmounted  by  bells. 

Bell-gamba.  An  organ-stop  having  conical  pipes 
Bellicosamente  (It.,  bel-le-kSh-sSh-men'teh).  >  j^^  ^ 
Bellicose  (It.,  bel-le-kfSh's(jh).  ^ 

martial,  warlike  style. 

Bell-metronome.  A  metronome  with  a  bell- 
attachment  which  may  be  set  to  strike  with  every 
second,  third,  fourth  or  sixth  beat  of  the 
pendulum. 

Bell  open  diapason.     Same  as  Bell-diapason. 

Bell-piano.     GLOCKENSPIEL. 

Belly.  The  face  (upper  side)  of  the  resonance-box 
of  the  violin  etc. — Also,  the  soundboard  of  the 
piano. 


Bene— Bisogna 


Be6e  (It.,  ba'neh).  [Abbreviation,^^//.]  Well... 
Ben  mar  cat  0^  well  marked  ;  a  bene  placito,  at 
pleasure  ;  ben  ritmafo,  with  careful  and  precise 
observance  of  the  rhythm ;  ben  sostenuto^  ben 
tenutOy  well  sustained. 

Bequem  (Ger.,  be-kvam').     Easily,  comfortably. 

Berceuse  (Fr.,  bar-soz').     A  cradle-song,  lullaby. 

Ber'gamask.  A  clownish  dance  like  that  of  the 
peasants  of  Bergamasca,  Italy. 

Bes  (Ger.,  bess).     B  double-flat. 

Beschleunigen  (Ger.,  be-shlahu'ni-gen).  To  hasten. 

Beschwingt  (Ger.,  be-shvingt').  Winged. .  .Z«c/t/ 
beschwingt^  lightly  and  swiftly  ;  volante. 

Beseelt  (Ger.,  be-zalt').     "  Soulfully,"  animated. 

Bestimmt  (Ger.,  be-shtimt').  With  decision,  energy. 

Betont  (Ger.,  be-tohnt')-     Accented,  marked. 

Betonung,  mit  (Ger.,  mit  be-toh'noong^).  With 
emphasis. 

Bewegt  (Ger.,  be-vayht').     Moved,  agitated. 

Bewegter  (Ger.,  be-vayh'ter).     Faster  ;  piu  tnosso. 

Bewegung  (Ger.,  be-va'goong'^).  Movement;  agk 
tation. 

Bi'chord.  Having  two  strings.  A  bichord  instru- 
ment is  one  (like  the  mandolin,  lute,  and  certain 
pianos)  having  a  pair  of  strings,  tuned  in  unison, 
for  each  tone. 

Bien  (Fr.,  b'yen).  'Well... Bzen  chatiie,  same  as 
MOLTO    CANTABILE  ;  bien  rythme,  same  as  BEN 

RITMATO. 

Bif'ara.  An  organ-stop,  the  pipes  of  which  are 
either  double-mouthed,  or  in  pairs  ;  the  two  mem- 
bers of  each  pair  are  tuned  at  slightly  different 
pitches,  so  that  the  interference  ("beating")  of 
the  sound-waves  produces  a  gentle  tremolo. 

Bi'nary.  Dual ;  two-part. .  .Binary  form,  a  form  of 
movement  founded  on  two  principal  themes  (see 
Sonata),  or  divided  into  2  distinct  or  contrasted 
sections.  ..Binary  measure,  that  of  common  time, 
the  first  of  every  2  members  taking  the  accent 
(regular  and  equal  alternation  between  down- 
beat and  up-beat). 

Bind.     I.  A  tie.— 2.  A  brace. 

Bisogna  (It.,  be-zohn'ySh).  "Is  necessary," 
"  must "  ;  as.  si  bisogna  da  capo  al  segno,  must  bo 
repeated  from  the  begining  to  the  sign. 


Bizzarramente— Bom  oardon 


Bizzarramente  (It.,  bid-zar-ra,h-men'teh.)  (  ■,        .. 

Bizzarria,  con  (It.,  k5hn  bid-zar-re'ah.)      ' 
zarre,  whimsical,  fantastic,  extravagant  style. 

Bizzarro,  -a  (It.,  bid-zar'r6h,  -rih).  Bizarre,  whim- 
sical, odd,  fanciful. 

BlochflOte  (Ger.,  bl6h'fl6'te).     »    _    An  old  kind  of 

Blockfl6te  (Ger.,  blohk'flo'tg).  ) 
^u/e  a  dec— 2.     An  organ-stop  having  pyramid- 
shaped  flue-pipes  of  2,  4,  8,  or  16-foot  pitch,  and 
sometimes  stopped. 

Block.  In  violins,  etc.,  the  blocks  are  small  pieces 
of  v^'ood  within  the  body,  glued  vertically  to  the 
ribs  between  belly  and  back  to  strengthen  the 
instrument. — A  haminer  in  the  piano  "  blocks  " 
when  it  remains  against  the  string  after  striking, 
instead  of  recoiling,  thus  '^ blockin^^"  (deadening) 
the  tone. 

B  moll  (Ger.,  ba  mohl')-     B  flat  minor. 

Boat-song.     Barcarole;  Gondoliera. 

Bob.  A  term  in  change-ringing  applied  to  the 
various  sets  of  changes  which  may  be  rung  on  6 
bells  (bob  minor),  8  bells  (bob  major),  10  bells 
(bob  royal),  or  12  bells  (bob  maximus). 

Bocca  (It.,  bShk'kah).  Mouth. .  .(Con)  bocca  chiusa 
[kew'sdh],  with  closed  mouth  ;  humming.  (See 
Bkummstimmen.) 

Bocedisation.     See  Solmisation. 

Body.  I.  The  resonance-box  of  a  stringed  instru- 
ment.—2.  That  part  of  a  wind-instrument 
remaining  when  mouthpiece,  crooks  and  bell  are 
removed. — 3.  The  tube  of  an  organ-pipe  above 
its  mouth. — 4.  A  tone  is  said  to  have  "body" 
when  it  is  full  and  sonorous;  the  resonance  of  a 
tone  is  also  called  the  "  body."  r^^  ^.jg 

Bogen  (Ger.,  boh'gen).     i.  A   bow.— 2.  A  slur;  or 

Bolero  (Span.,  b(5h-leh'r6h).  i.  A  Spanish  national 
dance  in  3-4  time  and  lively  tempo  (allegretto), 
the  dancer  accompanying  his  steps  with  cas- 
tanets.— 2.  A  composition  in  bolero-style. 

Bom'bard.  i.  A  large  kind  of  oboe,  or  shawm,  now 
obsolete. — 2.  A  16-foot  reed-stop  in  the  organ. 

Bombarde  (Fr.,  b6hn-bar'd').  A  bombard.  Also 
see  POS.AUNE  2. 

Bombar'don.  A  large  bass  trumpet ;  as  now  tflade, 
a  bass  saxhorn.— Also  a  deep-toned  organ-stop. 


24  Bouche— Bravoure 

Bouche  (Fr.,  boosh.)  Mouth... ^  bouche  fermee^ 
same  as  Bocca  chiusa.  \bouffe,  comic  opera. 

Bouffe     (Fr.,     boof.)     Comic,    burlesque. .  .<9/>era 

Bourdon  (Fr.,  boor-dohn'.)  An  organ-stop  of  i6  or 
32-foot  pitch,  having  stopped  wooden  pipes,  some- 
times with  metallic  tops;  French  organs  also 
have  open  bourdons  of  8  and  4-foot  pitch. — Also, 
a  great  bell,  as  the  bourdon  of  Notre-Dame.— 
Finally,  the  lowest  string  of  the  'cello  and 
double-bass. 

Bourree  (Fr.,  boo-ra')-  i.  A  dance  of  French  or 
Spanish  origin,  in  rapid  tempo,  having  2  sections 
of  8  measures  each,  and  in  2-4  or  4-4  time. — 2.  A 
movement  in  the  earlier  Suites,  in  alia  breve  time. 

Boutade  (Fr.,  boo-tahd').  i.  A  short,  impromptu 
ballet.— 2.  An  instrumental  impromptu  or  fan- 
tasia. 

Bouts.  The  incurvations  on  either  side  of  the 
violin,  etc.,  which  form  the  "waist." 

Bow.  The  implement  used  in  playing  instruments 
of  the  violin-type.  The  hair  is  attached  to  the 
stick  by  a  bent  point  or  head^  and  drawn  into 
proper  tension  b3' the  sliding  ««/,  which  is  worked 
by  the  screw. .  .Bow-arm  or  -hand,  the  right  arm 
or  \\a.nd..  ..Bo7v-/^uitar,  a  kind  of  violin  with 
a  guitar-shaped  hody... Bow-instrument,  one 
played  with  a  bo\Y ..  .Bow-zither.,  see  Zither. 

Bow  (verb).  To  execute  with  a  bow  ;  also,  to  mark 
a  piece  with  signs  indicating  the  bowing. 

Bowing,  The  art  of  handling  the  bow  ;  a  player's 
method  or  style  ;  also,  the  signs  for,  and  manner 
of,  executing  any  given  passage. 

Branle,  Bransle  (Fr.,  brahn'l').  A  Brangle  or 
Brawl ;  an  old  French  dance  in  4-4  time,  in  which 
several  persons  joined  hands  and  took  the  lead 
in  turn.  [omission  of  reed-instruments. 

Brass-band.    Differs  from  full   military  band  by 

Brass-wind.  Metal  wind-instruments  in  an  or- 
chestra, or  the  players  on  them. 

Bratsche  (Ger.,  brah'che).    The  viola. 

Bravour  (Ger.,  brah-voor').  'Bva.vnTa.. . . Bravour- 
arie,  aria  di  bravura. ..  Bravour stiick,  a  vocal  or 
instrumental  piece  of  a  brilliant  and  difficult 
character. 

Bravoure  (Fr.,  brah-voor).  V,ra.vnr&...Valse  de 
bravoure.  an  instrumental  waltz  in  brilliant, 
showy  style. 


Bravura— Brise  25 


Bravura  (It.,  brah-voo'rSh).  Boldness,  spirit,  dash, 
brilliancy -Iria  di  bravura,  a  vocal  solo  con- 
sisting- of  difficult  runs  and  passages,  designed 
to  show  off  the  singer's  voice  or  skill... Cc7« 
bravura,  with  boldness,  etc. 

Brawl.     See  Branle. 

Break,  i.  The  point  where  one  register  of  a  voice 
or  instrument  passes  over  into  another ;  in  the 
voice,  the  junction  of  the  head-  and  chest- 
registers;  in  the  clarinet,  between  the  notes 
— —  . . .  Breaking  of  the  voice,  see 
s—  MUTATIOX.— 2.  A  false  or  im- 
1 perfect  tone  produced  by  incor» 


i 


•^  rect  lipping  of  ahorn  ortrumpet; 

or  by  some  difficulty  with  the  reed  of  the  clarinet 
(this  "  break  "  is  called  "  the  goose  ");  or,  in  sing- 
ing, by  some  defect  in  the  vocal  organs. — 3.  In 
an  organ-stop,  when  playing  up  the  scale,  the 
sudden  return  to  the  lower  octave  (caused  by  an 
incomplete  set  of  pipes);  also,  in  compound  stops, 
any  point  in  their  scale  where  the  relative  pitch 
of  the  pipes  changes. 

Breatl>-band3.     The  vocal  cords. 

Breathing-mark.  A  sign  inserted  in  a  vocal  part 
to  show  that  the  singer  may  (or  must)  take  breath 
at  that  point  ;   written  variously  (',  *,  v',  V,  ")■ 

Breit  (Ger.,  brit).    Largamente. 

Breve  (brev).     A    note  equal  to  2  whole  notes  or 
semibreves  ;  the  longest  used 
in  modern  notation;  written  : 
See  All.\  breve. 

Breve  (It.,  bra'veh).     Short.  [ruptlv. 

Brevemente  (It.,  br§h-v§h-men'teh).  Short,  aS- 
Bridge.  In  bow-instruments,  a  thin,  arching  piece 
of  wood  set  upright  on  the  belly  to  raise  and 
stretch  the  strings  above  the  resonance-box,  to 
which  the  bridge  communicates  the  vibrationsof 
the  strings.— In  the  piano,  and  other  stringed  in- 
struments, a  rail  of  wood  or  steel  over  which  the 
strings  are  stretched. 

Brillante    (It.,    brel-lShn'tSh).      Brilliant,    showy, 

sparkling. 
Brio,  con  (It.,  kShn  bre'Sh).  I  With  fire  and  dash; 
Brioso  (It.,  bre-oh's6h).  i"     spiritedly. 

Brise  (Fr.,  bre-za';  "  broken  ").     In  violin-playing, 

short,  detached  strokes  of  the  bow. 


26  Broken  cadence— C 

Broken  cadence.  See  C^DK'SCK... Broken  chords, 
chords  whose  tones  are  sounded  in  succession  in- 
stead of  together  (ARPEGGIO)..  .^rf^^«  octaves, 
series  of  octaves  in  ^^     ^^      <^      ^^ 

which     the     higher    ^ ..     ' "^  _!  **    _i  J    ■ 

tones  alternate  with     g>'       \  \  — ~ 

the  lower :  m         ^         ^        'm         ' 

Brummstimmen  (Ger..br66m'shtim'men).  "Hum- 
ming voices  ";  production  of  tone  without  words, 
through  the  nose,  with  closed  mouth  (BocCA 
CHIUSA).  [-QJ.  forcibly  accented. 

Bruscamente  (It.,  broo-skah-men'teh).     Brusquely 

Brusco  (It.,  broo'skoh).     Rough,  harsh. 

Buffo,  -a  (It.,  boof  foh,  -fah).  Comic,  burlesque  j 
hence,  Buffo,  Buffo-sing^er,  a  comic  actor  (singer) 
in  an  opera..  .^;-/(2  btiffa.  a  comic  air  or  aria... 
Opera  buffa,  comic  or  burlesque  opera. 

Buffonescamente  (It.,  boof-foh-ne-skah-men'teh). 
Comically,  drolly.  ["droll,  burlesque. 

Buffonesco,  -a  (It.,  boof-f 6h-ne'sk6h,  -skah)   Comic, 

Bugle.  I.  A  wind-instrument  of  brass  or  copper, 
with  cupped  mouthpiece,  used  for  infantry  calls 
and  signals.  — 2.  The  key-bugle,  with  6  keys,  and 
a  compass  of  over  2  octaves. — 3.  The  valve-bugle 
(see  Saxhorn). 

Burden.  1.  A  chfirus  or  refrain  repeated  after  each 
stanza  of  a  song.— 2.  The  drone  of  a  bagpipe. — 3. 
The  bass  part.— 4.  A  dance-accompaniment  sung 
without  instruments. 

Burla  (It.,  boor'lah).     A  jest ;  raillery.      [romping. 

Burlando    (It.,    boor-lahn'doh).      Joking,    jesting, 

Burlescamente  (It.,  boor-le-skah-men'teh).  In  bur- 
lesque  style.  [farcical. 

Burlesco,    -a    (It.,    boor-le'skoh,    -skah).      Comic, 

Burlesque  (bur-lesk').  A  dramatic  Extravaganza, 
or  farcical  travesty  of  some  serious  subject, 
with  more  or  less  niusic. 

Busain,  Busaun,  Buzain.  A  reed-stop  on  the 
organ-pedal,  usually  of  16-foot  tone. 


C.  1.  (Ger.  C;  Fr.  uf-  It.  do).  The  first  tone  and 
degree  in  the  typical  diatonic  scale  of  C  major. 
— 2.  In  musical  theory,  capital  C  designates  the 
C-major  triad,  small" t  the  ^-minor  triad.— Also 


Caccia — Cadence 


see  Pitch,  absolute.     Middle-C  is  the   note  c» 

—iZ  zz:    on    the    piano-keyboard.  

^  :    Tenor-C   is    the     lowest    ^ , : 

^    ^I  note  in  the  tenor  voice,  c.-               ~^^Z 

Caccia  (It.,  cSht'chah).    The  chase;  a  hunt...^//a 
caccta,  in  hunting  style,  that  is,  accompanied  by 

[like  the  Bolero. 


horns. 


Cachucha  (Span.,  cSh-choo'chSh).  A  dance  much 
Cadence,  i.  A  CADENZA.— 2.  Rhythm.— 3.  The 
closing  strains  of  a  melody  or  harmonized  move- 
ment ;  the  Close  or  ending  of  a  phrase,  section, 
or  movement.  ...-i/«<?«  cadence,  a  popular  term 
for  Flagal  cadetice  (to  which  the  word  "  Amen  " 
is  often  sung) -luthentic  c,  a  Perfect  c. .  .Avoid- 
ed, Broken,  Deceptive.  Evaded,  or  False  cadence, 
an  Interrupted  cadence. .  .Full  cadence,  a  Perfect 
CAdencQ ... Half-cadejice  (Half-close  >,  or  Imperfect 
c,  the  tonic  chord  followed  by  the  dominant 
chord...  .Jnterrupted  or  Jrregidar  cadence,  an 
unexpected  progression  avoiding  some  regular 
cadence.  .  .Mixed  cadence,  a  close  with  dom.,  sub- 
dominant,  dominant,  and  tonic  chords  in  succes- 
sion, being  a  mixture  of  authentic  and  plagal... 
Perfect  cadence,  the  dominant  triad,  or  seventh- 
chord,  followed  by  the  tonic  chord  ;  the  "authen- 
tic cadence  "  of  the  church-modes... /^/a^tz/ ^rt- 
dence,  the  subdominant  chord  followed  bv  the 
torno.. .  .Radical  cadence,  a  close,  either  partial  or 
complete,  formed  with  two  fundamental  chords. 
..  .Surprise  cadence,  an  Interrupted  cadence... 
Whole  cadence,  a  Perfect  cadence. 


Authentic.  Plagal. 

-t-^ ..       I 


Interrupted. 


a8  Cadenza— Canon 


Cadenza  (It.,  kah-den'dzah).  i.  In  a  vocal  solo,  a 
brilliant  passage,  usually  at  the  end. — 2.  An 
elaborate  passage  or  fantasia  at  the  end  of  the 
first  or  last  movement  of  a  concerto,  and  played 
b}^  the  solo  instrument  (piano,  violin,  etc.). 

Caesura.     See  Cesura. 

Calando  (It.,  kah-lahn'doh).  "  Decreasing  ";  grow- 
mg  softer  and  (usually)  slower. 

Calcando  (It.,  kahl-kahn'doh).  "Pressing";  has- 
tening the  tempo. 

Calliope  (cal-li'o-pe).  A  steam-organ  ;  a  pipe-organ 
whose  harsh  tone  is  produced  by  steam,  instead 
of  wind,  under  pressure. 

Caliithumpian  concert.  A  boisterous  serenade 
given  to  some  person  who  has  become  an  object 
of  popular  hostility  or  ridicule  ;  characterized  by 
the  blowing  of  horns,  beating  on  tin  pans,  derisive 
cries,  hoots,  groans,  cat-calls,  etc. 

Calma,  con  (It.,  kohn  kahl'mah).     See  Calmato. 

Calmando(si)  (It.,  kahl-mahn'doh  [-se]).  Growing 
calm,  becoming  tranquil. 

Calmato  (It.,  kShl-mah'toh).  With  calm  ;  calmly, 
tranquilly. 

Galore,  con  (It.,  kohn  kah-loh'reh).  { -^yj^j^  warmth 
Caloroso  (It.,  kah-16h-roh'.s6h).  J  * 

passion;  passionately. 

Camera  (It.,  kah'meh-rah).  Chamber,  room,  small 
hall. .  .A//a  camera,  in  the  style  of  chamber-music. 
. .  .Musica  da  camera,  chamber-music. 

Camminando  (It.,  kahm-me-nShn'doh).  "Walking"; 
a  flowing  movement,  like  Andante. 

Campagnuolo,  -a  (It.,  kahm-pahn-yo'loh).  Pastoral, 
idyllic  ;  rustic. 

Campana  (It.,  kahm-pah^nSh).     A  bell. 

Campanellino  (It.,  -nel-le'noh).  »  ^  ^^^jl  ^^jj^ 

Campanello  (It.,  — nel'loh).  ' 

Campestre  (It.,  kahm-pe'streh).  Pastoral,  rural, 
idyllic. 

Cancel.     The  Natural,  h. 

Can'crizans  (Latin).  Retrogressive  ;  moving  back- 
ward. 

Can'on.  The  strictest  form  of  musical  imitation, 
in  which  2  or  more  parts  take  up,  in  succession, 
the  given  subject  note  for  note. 


Canonical  Hours— Capo  sg 

Canon'ical  Hours  of  the  Roman  Catholic  Church 
are  the  established  times  for  daily  prayer : 
matins  (including  noctiirns  and  lauds')^  prime^ 
terce^  sext^  nones,  vespers,  and  complin. 

Canon'ic  imitation.  Strict  imitation  of  one  part  by 
another. 

Cantabile  (It.,  ka.hn-tah'be-16h).  "Singable;"  in  a 
singing  or  vocal  style. 

Cantando  (It.,  kahn-tahn'doh).  /  Singing  ;    smooth 

Cantante   (It.,  kahn-tShn'teh).    S     and  flowing. 

Cantata  (It.,  kahn-tah'tah.)  A  vocal  work  with 
instrumental  accompaniment,  consisting  of  cho- 
ruses and  solos,  recitative,  duets,  etc.,  shorter 
than  an  oratorio.  A  sacred  cantata  has  biblical 
words  ;  a  secular  cantata  may  have  any  non-bib- 
lical subject. 

Cantato  (It.,  kahn-tah'toh).     "Sung;"  singingly. 

Canterellando  (It.,  kahn-teh-rel-lahn'doh).  Sing- 
ing softly.  [softly  ;  humming. 

Canticchiando     (It.,  kShn-tik-yahn'doh).     Singing 

Can'ticle.  One  of  the  non-metrical  hymns  of  praise 
and  jubilation  in  the  Bible;  or  a  sacred  chant 
similar  to  it. 

Cantilena  (It.,  kahn-te-la'n3,h).  \ 

Cantilene  (Ger.,  kShn-te-la'ne;.  >"  A  little  song;'* 

Cantilene  (Fr.,  kahn-te-lan').      ' 
a  ballad  or  light  popular  song;  a  flowing,  song- 
like passage  on  an  instrument. 

Canto  (It.,  kShn'toh).  A  melod3^  song,  chant;  the 
soprano  (highest  vocal  or  instrumental  part)... 
Col  canto,  "  with  the  melody,"  a  direction  to 
accompanists  to  follow  the  solo  part  in  tempo 
and  expression. .  .Ci/«/^yi'r;«o,  a  Cantus  firmus. 

Can'tus  fir'mus  (Latin).  A  fixed  or  given  melody  : 
(a)  Plain  song  ;  (b)  in  counterpoint,  a  given  mel- 
ody, like  a  plain-song  tune,  to  which  other  parts 
are  to  be  set  according  to  rule. 

Canzone  (It.,  kahn-tsoh'neh).  A  song,  folk-song  ; 
also,  a  part-song  in  madrigal-style. 

Canzonet'.  A  little  air  or  song  ;  a  short  part-song  ; 
a  madrigal. 

Capellmeister.    See  Kapellmeister. 

Capo  (It.,  kah'p6h).     Head,   beginning.  ..A/  c<z/t7, 

from  the  beginning. .  .Z>ti  capo  al  se^no,  from  the 

beginning  to  the  sign  ("jy:  or  ^). 


Capo  d'astro— Catch 


Capo  d'astro.  [An  English  corruption  of  capo- 
tastoP\  The  "  capo  d'astro  bar  "  in  the  piano  is  a 
metallic  bar  fixed  across  the  strings  near  the 
wrestplank,  bearing  down  on  the  3  highest 
octaves  (more  or  less). 

Capotasto  (It.,  kah-poh-tah'stoh).  i.  The  nut  of 
stringed  instruments  having  a  fingerboard.— 2.  A 

Fiece  ot  wood  or  ivory  which  can  be  set  across  a 
retted  fingerboai  d  to  raise  the  pitch  of  all  the 
strings  at  once. 

Cappella  (It.,  kahp-pel'lah).  [Wrongly  spelled 
capella.']  A  choir  ;  an  orchestra;  both  together. 
...A  (or  alia)  cappella,  vocal  chorus  without 
instrumental   accompaniment.    (Also   see  Alla 

BREVE.) 

Capriccio  (It.,  kah-prit'choh).  An  instrumental 
piece  of  free  form,  distinguished  by  originality 
in  harmony  and  rhythm;  a  Caprice. .  .A  capriccio, 
at  pleasure. 

Capricciosamente(It.,kah-prit-ch6h-sah-men'teh).  ) 

Capriccioso  (It.,  kah-prit-choh'soh).  1 

In  a  capricious,  fanciful,  fantastic  style. 

Caressant  (Fr.,  kah-res-sahn').  ) 

Carezzando  (It.,  kah-ret-sahn'doh).  \  ^H^^^^fZ' 

Carezzevole  (It.,  kah-ret-sa'voh-leh).  ' 

Carillon  (Fr.,  kah-re-yohn').  i-  A  Glockenspiel,  or 
set  of  fixed  bells  played  from  a  keyboard  or  by 
a  barrel-mechanism  ;'also,a  tune  played  on  these 
bells,  or  an  instrumental  piece  imitating  their 
effect. — 2.  A  piano  with  bells  instead  of  strings. — 
3.  A  mixture-stop  in  the  organ. 

Carita,  con  (It.,  kohn  kah-re-tah').  With  tender 
expression. 

Carol.  To  sing  joyously;  hence,  a  joj^ous  Christmas 
song  of  praise. 

Castanets'.  A  pair  of  small  concave  pieces  of  wood 
or  ivory,  attached  by  a  cord  to  a  dancer's  thumb 
and  forefinger,  and  struck  together  in  time  with 
the  music. 

Castrate  (It.,  kSh-strah'toh).  An  adult  male  singer 
with  soprano  or  alto  voice. 

Cat.     Slang  term  for  Bre.^K  i. 

Catch.  A  round  or  canon  for  3  or  more  voices, 
each  singer  having  to  "  catch  "  or  take  up  his  part 
at  the  right  instant.  Modern  catches  are  gener- 
ally humorous. 


Catgut— Chanjre-ringJiij? 


Catgut.    Popular  name  for  gut  strings. 

Cavallina  (It..  kah-vShl-le'nah).  A  forced,  jerky 
delivery  (coloratura). 

Cavatina  (It.,  kSh-vah-te'nSh).  A  song;  particu- 
larly, a  short  aria  without  second  section  or  Da 
capo. 

C-clef.  A  clef  written  |  ^  |  1 13|  |  ||3||^  etc.; 
(see  Elements  of  Notation,  p.  iv). 

C  dur  (Ger.,  tsa  door').     C  major. 

Cedendo  (It.,  cha-den'd6h).     Growing  slower. 

Cedez  (Fr.,  sa-da').     Go  slower. 

Celere  (It.,  cheli'lgh-reh).     Rapid,  swift. 

Celerita,  con  (It.,  kdhn  cheh-leh-re-tah').  With 
celerity,  rapidly. 

Celeste  (Fr.,  sa-lest').     Celestial. 

'Celli  (It.,  cheKle).     Abbreviation  of  Violoncelli. 

'Cello  (It.,  cheK16h).     Abbreviation  of  Violoncello. 

Cembalo  (It.,  chem'b5.h-16h).  Harpsichord  ;  piano- 
forte ;  in  old  times,  a  dulcimer... yi  cembalo,  lor 
piano  (or  harpsichord). 

Ces(Ger.,  tsSs.s).     C  flat. 

Ceses  (Ger.,  tsess'Sss).     C  double-flat. 

Cesu'ra,  Caesura.  The  dividing  line  between  two 
melodic  and  rhythmical  phrases  within  a  period  ; 
called  masculine  or  feminine  according  as  it 
occurs  after  a  strong  or  weak  beat. 

Chaconne  (Fr.,  shah-k5hn').  A  Spanish  dance. 
Also,  an  instrumental  piece  consisting  of  a 
series  of  variations  above  a  ground  bass  not 
over  8  measures  in  length,  in  3-4  time  and  slow 
tempo. 

Chalumcau  (Fr.,  shah-hV-moh')-  An  old  wind-in- 
strument having  q  finger-holes  and  a  beating 
reed.    (See  CLAkl.NET.) 

Chamber-music.  Vocal  or  instrumental  music 
suitable  for  performance  in  a  room  or  sm.all 
hall  ;  especially,  quartets  and  similar  concerted 
pieces  for  solo  instruments. 

Change,  i.  In  harmony,  MODULATION.— 2.  In  the 
voice.  Mutation.— 3.  Any  melodic  phrase  or 
figure  played  on  a  chime  of  bells. 

Change-ringing.  The  art  and  practice  of  ringing 
a  peal  of  bells  in  varying  and  systematic  order. 


32  Changing-chord— Chef  d'orchestre 

Changing-chord.  One  containing  tones  ("  chang- 
ing-notes  ")  dissonant  to  the  bass,  and  entering 
on  the  strong  beat. 

Changing-note.  A  dissonant  note  (tone)  entering 
on  the  strong  beat,  and  passing  by  a  step  to  a 
consonance,  or  by  a  skip  to  a  chord-note  or  a  note 
belonging  to  another  chord. 

Chanson  (Fr.,  shahn-sohn'j.     A  song. 

Chansonnette  (Fr.,  shahn-soh-net').  A  short  song. 
'  Chant,  A  short  sacred  song. — i.  The  Anglican 
chant,  adapted  to  the  Canticles  and  Psalms, 
consists  of  7  measures,  harmonized,  the  time- 
value  of  the  single  note  constituting  the 
first  and  fourth  measure^  being  lengthened  or 
shortened  to  fit  the  words,  whereas  the  others 
are  sung  in  strict  time.  Each  ot  its  2  divisions 
(of  3  and  4  measures  respectively)  begins  on  a 
reciting-note  and  ends  with  a  cadence. — 2.  The 
Gregorian  chant  is  a  Gregorian  melody  repeated 
with  the  several  verses  of  a  biblical  prose  text  ; 
it  has  5  divisions,  (i)  the  intonation,  (2)  the  first 
dominant,  or  reciting-note,  (3)  the  mediation,  (4) 
the  2d  dominant,  or  reciting-note,  and  (5)  the  ca- 
dence. 

Chant  (Fr.,  shahn).  Song;  singing;  melody; 
tune.  Also,  voice  (the  vocal  part  as  distinguished 
from  the  accompaniment). 

Chanter.     The  melody-pipe  of  the  bagpipe. 

Chanterelle  (Fr.,  shahn-t'-rel').  The  highest  string 
on  a  violin,  lute,  etc. 

Chantie.  A  unison  song  sung  by  workmen  and 
timing  thpir  motions. 

Chapel.  A  company  of  musicians  attached  to  the 
establishment  of  any  distinguished  personage. 

Characteristic  piece.  A  character-piece  ;  one  de» 
picting  a  definite  mood,  impression,  scene,  or 
event. 

Characteristic  tone.  r.  The  leading-tone.— 2.  That 
tone  in  any  key  which  specially  distinguishes  it 
from  nearly  related  keys  ;  like  F^  in  G^  major, 
distinguishing  it  from  C  major. 

Characters.     Musical  signs  in  general. 

Charme,  avec  (Fr.,  ah-vek'  sharm).  With  charm  ; 
gracefully. 

Che  (It.,  ka).     Than  ;  that. 

Chef  d'orchestre  (Fr.  shef  dor-kes'tr).  Conductor 
of  an  orchestra. 


Chest-reg-ister— Choralmassig'  33 

Chest-register.  The  lower  recfister  of  the  male  or 
female  voice,  the  tones  of  which  produce  sympa- 
thetic vibration  in  the  chest. 

Chest-tone.    J  Vocal  tone  possessing   the    quality 

Chest-voice.  >      o^  '^he  chest-register. 

Chiaramente  (It.,  k'yah-rah-men't6h).      >    Cleariv 

Chiarezza,  con  (It.,  kohn  k'y^h-ret'sah).  1 
distinctly,  linipidly. 

Chiaro,  -a  (It.,  k'yah'roh,  -r3,h).     Clear,  pure. 

Chime,  i.  A  set  of  from  5  to  12  bells  tuned  to  the 
:;cale,  and  played  by  swinging  either  the  bells 
themselves  or 'clappers  hung  within  them.  Also, 
a  tune  so  played.— 2.  A  set  of  bells  and  hammers 
played  by  a  keyboard  ;  a  Carillon. 

Chin-rest.  An  oval  plate  of  ebony  attached  to  the 
edge  of  the  violin  to  the  left  of  the  tailpiece. 

Chiroplast  (kl'-).  "Finger-former'";  an  apparatus 
invented  by  Logier  about  1814,  consisting  of  2 
wooden  rai'ls  attached  in  front  of  and  parallel 
with  the  keyboard,  and  a  pair  of  open  gloves  ;  it 
hindered  the  wrist  from  sinking,  and  made  the 
fingers  strike  vertically. 

Chitarra  (It.,  ke-tar'rSh).     A  guitar. 

Chitarrata  (It.,  ke-tar-rah't5.h).  A  piano-piece  imi- 
tating the  guitar. 

Chiuso,  -a  (It.,  kew'sSh,  -sSh).  Closed...^  bocca 
c/iiusa,  with  closed  mouth  ;  humming. 

Choir.  I.  A  company  of  singers,  especially  in  a 
church.— 2.  A  choral  society.— 3.  In  the  Anglican 
Church,  the  singers  of  the  daily  choral  service, 
who  sit  divided  on  the  decant  and  cantoris  sides  of 
the  chancel.— 4,  A  subdivision  of  a  chorus;  for 
example,  the  ist  and  2d  choirs  in  8-part  music. 

Choirmaster.     Leader  (leading  singer)  of  a  choir. 

Choir-organ.     See  ORGAN. 

Cho'ral.  i.  Relating  or  pertaining  to  a  chorus,  or 
to  vocal  concerted  m\\^\c.  ..Choral  notes,  the 
square  notes  used  for  writing  plain  song..  .Choral 
service^  a  church-service  with  music  by  thechoir. 
—  2  (k6h-rahK).  A  hymn-tune  of  the  earlv  Ger- 
man Protestant  Church,  or  one  similar  in  style. 
(Also  spelled  Chorale.) 

Chora'liter  (Latin).     By  or  for  the  choir ;  choral. 

Choralmassig  CGer.,  k6h-rahl'ma'slyh\  In  the 
style  of  a  chorale. 


34  Chord— ClarabellA 

Chord.  I.  A  harmony  of  2  or  more  tones. — 2.  A 
harmony  of  from  3  to  5  tones,  forming  an  ascend- 
ing series  of  diatonic  thirds  (see  Elements  of 
Notation,  page  ix). — 3.  A  "'fiat^'  ox"" soiiW  chord 
is  one  whose  tones  are  produced  simultaneously; 
opposed  to  broken.— i,.  A  string. 

Chorus.  A  company  of  singers  ;  hence,  a  composi- 
tion, oftenest  in  4  parts,  each  sung  by  several  or 
many  smgers ;  a  double  chorus  has  8  parts. 
Also,  the  refrain  or  burden  of  a  song. 

Chorus-master.      A    choirmaster :    also,  the   con- 


ductor of  a  chorus. 


[of  the  Kyrie  (see  Mass). 


Christe  cleison  (Gk.,  "  Christ,  have  mercy  ").    Part 

Chromatic.  Relating  to  tones  foreign  to  a  given 
key  (scale)  or  chord  ;  opposed  to  diatonic  . 
Chromatic  signs,  the  sharp  (;:),  flat  (7),  natural  (5), 
double-sharp  (x),  and  double-fiat  (>;>). 

Church-modes.  The  octave-scales  employed  in 
medieval  church-music. 

Ciaccona  (It.,  chahk-koh'nah).     A  Chaconne. 

Cimbal.     See  Cy.mbal.  [chord  ;  a  tambourine. 

Cimbalo  (It.,  ch!m'bah-16h).     A  cymbal  ;  a  harpsi- 

Cinque-pace  (sink'pas).  An  old  dance,  probably 
French,  with  a  five-step  movement. 

Cipher.  A  tone  is  said  to  "  cipher  "  on  the  organ 
when,  owing  to  some  derangement  of  the  action, 
it  persists  in  sounding. 

Circle  of  Fifths.  A  series  of  Fifths  tuned  (as  on 
the  piano)  m  equal  temperament,  so  that  the 
twelfth  Fifth  in  the  series  has  the  same  letter- 
name  as  the  first  tone.     (See  page  viii.) 

Circular  canon.  A  canon  closing  in  the  key  a  sem- 
itone above  that  in  which  it  begins  ;  12  repetitions 
would  thus  carry  it  through  the  "  circle  "  of  12 
keys. 

Cis  (Ger.,  tsiss).     Cit. . .  Cisis  (tsiss'iss),  CX. 

Cither  (sith'er),  Cith'ern,  Cittern  (sit'-).  A  kind  of 
lute  or  guitar,  strung  with  wire  and  played  with 
a  pick  ;  used  in  the  i6th  and  17th  centuries. 

Civetteria,  con  (It.,  kohn  che-vet-teh-re'ah).  With 
coquetry  ;  in  a  coquettish,  trifling  stj'le. 

Clang.  (Ger.  Klang).  A  fundamental  tone  with 
its  harmonics  [Tyndall]...C/««^-C£'/t7r,  Clang- 
ti)it,  "tone-color,"  timbre. 

Clarabella.  An  organ-stop  having  open  wooden 
pipes  of  8-foot  pitch  and  soft,  mellow  tone. 


Claribel-flute— Coloratura 


35 


Claribel-flute.     A  4-foot  Clarabella. 

Clarinet'.  A  transposing  wind-instrument  derived 
from  the  Chaluineau.  It  has  a  cylimJrical  wooden 
tube  pierced  by  18  holes,  13  being  closed  by  keys, 
yieldmg  a  chromatic  series  of  ig  prime  tones  (<?  to 
i^p).  Its  compass  comprises  3  octaves  in  4  differ- 
ent registers  ;  the  Low  register  ("  chalumeau '■'), 
Medi'um  register.  High  register  ("  clarinetto"), 
and  Super-acute  register. 

Clarinet-stop.     See  Krummhorn. 

Clarinetto  (It.,  klSh-re-net'toh).     Clarinet. 

Clarion,  i.  A  small,  shrill-toned  trumpet. — 2.  In 
the  organ,  a  4-foot  reed-stop  of  shrill,  piercing 
^^"^-  [8-foot  reed-stop. 

Clarionet',     i.  A  Clarinet.— 2.  In  tlie  organ,  a  soft 

Clarionet-flute.    A  flue-stop  with  perforated  cover. 

Clavecin  (Fr.,  kiah-v'-san').  I  \  harp- 

Clavicembalo  (It.,  kiah-ve-chem'bSh-16h).  > 
sichord. 

Clav'ichord.  A  precursor  of  the  pianoforte,  differ- 
ing in  action  from  the  latter  in  having,  instead  of 
hammers,  upright  metal  wedges  called  tangents 
on  the  rear  end  of  the  keys ;  on  pressing  a 
key,  the  tangent  struck  the  wire,  and  remained 
pressed  against  it  till  the  finger  was  lifted,  caus- 
ing only  one  section  of  the  string  to  vibrate. 

Clavier  (kla-ver').    A  keyboard.    (See  Klavier.) 

Clavier  (Fr.,  klSh-v'ya').  A  keyboard  ;  a  manual. 
...Clavier  de  recite  swell  manual. 

Clef.  A  character  set  at  the  head  of  the  staff  to  fix 
the  pitch  or  position  of  one  note,  and  thus  of  the 
rest.    (See  "  Elements  of  Notation,"  p.  iv.) 

Close  (kloz).  A  cadence  ending  a  section,  move- 
ment, or  piece. 

Close  harmony  or  position.     See  Harmoxy. 

Coda  (It.,  koh'dih).  A  "tail;"  hence,  a  passage 
ending  a  movement. 

Codetta  (It.,  koh-det'tSh).     A  short  coda. 

Cogli  (kohl've).  Col,  Coll',  CoUa,  Colle,  Collo  (It.). 
With  the. 

Color.     Timbre. 

Coloratura  (It.,  k6h-16h-rah-too'r4h).  Vocal  runs, 
passages,  trills,  etc..  enhancing  the  brilliancy  ot 
a  composition  and  displaying  the  singer's  skill. 
(Also  used  for  instrumental  ornaments.) 


36  Coloris — Complete  stop 

Coloris  (Fr.,  koh-loh-re').  The  changes  in  vocal  or 
instrumental  "tone-color,"  or  in  the  instrumen- 
tation or  registration,  employed  for  obtaining 
special  effects;  the  "color-scheme"  of  a  compo- 
sition. 

Colpo  (It.,  kohl'poh).     A  blow  ;  di  colpOy  suddenly. 

Combination-pedal.  A  metal  foot-lever  above  the 
organ-pedals  ;  the  forte  pedal  draws  all  the  stops 
of  its  keyboard  ;  the  mezzo  pedal,  the  chief  8-  and 
4-foot  stops  of  its  keyboard  ;  the  piano  pedal 
pushes  in  all  but  a  few'of  the  softest  stops. 

Come  (It.,  ko'meh).     As,  like. 

Come  prima  (It.,  ko'meh  pre'mah).  As  before,  as 
at  tirst  (that  is,  "resume  the  previous  tempo  "). 

Come  retro  (It.,  ko'meh  ra'troh).     As  before. 

Come  sopra  (It.,  ko'meh  soh'prah).     As  above. 

Come  sta  (It.,  ko'meh  stah).  As  it  stands,  as 
written. 

Commodo  (It.).  See  COMODO. 

Common  chord.  A  major  or  minor  triad. .  .C^w- 
ynon  hallelujah  metre,  or  Common  lo77g  fnetre,  see 
Metre.  ..C^wwf;/  measure,  common  time... 
Comfnon  metre.  Double  common  metre.  Common 
particular  7netre,  see  ^I'E.TKF,..  .Comtnon  time,  a 
measure  containing  2  (or  4)  half-notes,  or  4  quar- 
ter-notes, with  2  or  4  beats  respectively;  duple  or 
quadruple  time.  (Ordinarily,  common  time  is 
understood  to  mean  4  quarter-notes,  and  as 
many  beats,  to  the  measure.)  [ComODO. 

Comodamente    (It.,    koh-moh-dah-men'teh).      See 

Comodetto  (It.,  koh-moh-det'toh).  Rather  easy  or 
leisurely. 

Comodo  (It.,  ko'moh-doh).  Easy,  leisurely,  at  a 
convenient  pace. 

Compass.  The  range  of  a  voice  or  instrument ;  the 
scale  of  all  the  tones  it  can  produce,  from  the 
lowest  to  the  highest. 

Compiacevole  (It.,  kohm-p'yah-cha'voh-leh).  | 

Compiacevolmente  (-cha-vohl-men'teh).  ' 

Pleasing(ly),  charming(ly). 

Complement,  Complementary  interval.  An  inter- 
val which,  added  to  any  given  interval  not  wider 
than  an  octave,  completes  the  octave  ;  a  Fourth 
is  the  complement  of  a  Fifth,  a  minor  Third  of  a 
major  Sixth,  etc. 

Complete  stop.     See  Stop. 


Complin(e)— Concertsttick  37 

Com'plin(e).  A  short  evening  service,  completing 
the  7  Canonical  Hours.  fPOSED. 

Composed-through.      See    PROGRESSIVELY    COM- 

Composition  pedal.  In  the  organ,  a  pedal  which 
draws  out  or  pushes  in  several  stops  at  (jnce. 

Compound  interval.  vSee  l^T^yiVM.. .  .Co>?ipound 
measure,  rhythm,  time,  see  TniK. .  .Compound 
stop,  an  organ-stop  having  more  than  one  rank 
of  pipes. 

Compressed  score.     A  short  score. 

Con  (It.,  kohn).     With  ;  in  a  style  expressive  of. 

(For  definitions  of  phrases  beginning  with   "con," 
see  the  second  word  in  the  given  phrase.) 

Concave  pedals.     Radiating  pedals. 

Concentrando  (It.,  k6hn-chen-trahn'd6h).  "  Con- 
centrating ;"  an  expression-mark  in  vocal  music 
calling  for  an  intensified  effect  of  tone. 

Con'cert.  A  musical  performance  requiring  the 
cooperation    of  several   musicians.— (Ger.).     See 

KO.XZERT. 

Concertante  (It.,  kShn-char-tShn'teh).  i.  A  con- 
cert-piece.—2.  A  composition  for  2  or  more  solo 
voices  or  instruments  with  accompaniment  by 
orchestra  or  organ,  in  which  each  solo  part  is  in 
turn  brought  into  prominence.— 3.  A  composition 
for  2  or  more  unaccompanied  solo  instruments... 
Concertante  parts,  parts  for  solo  instruments  in 
orchestral  vavL?>\f:...  .Concertante  style,  a  style  of 
composition  admitting  of  a  brilliant  display  of 
skill  on  the  soloist's  part. 

Concerted  music.  Music  written  in  parts  for 
several  instruments  or  voices,  like  trios,  quar- 
tets, etc. 

Concert-grand.     See  PIANOFORTE. 

Concerti'na.  The  improved  accordion  invented  by 
Wiieatstone  in  1829. 

Concert-master.     Leader;  first  violin. 

Concertmeister.     See  KoNZERT.MEISTER. 

Concerto  (It.,  k6hn-char'r(5h).  An  extended  com- 
position for  a  solo  instrument,  usually  with  or- 
chestral accompaniment,  and  in  (modified) 
sonata-form. 

Concert-overture.     See  OVERTURE. 

Concert-pitch.     See  PITCH.  [piece  ;  concerto. 

Concertstuck   (Ger.,    kohn-ts^rt'sht/Vk).      Concert- 


38  Concitato — Contrabbasso 

Concitato  (It.,  kohn-che-tah'toh).  Moved,  excited, 
agitated. 

Concord.     Euphony;  harmony;  consonance. 

Con'duct.     The  "  leading"  of  a  part. 

Conductor.     Director  of  an  orchestra  or  chorus. 

Cone-gamba.     Bell-gamba. 

Con'ical  mouthpiece.  See  CUPPED. . .  Conical  tube, 
one  tapering  very  gradually;  a  cylindrical  tube 
does  not  taper. 

Conjunct'  degree.  The  nearest  degree  in  the  scale 
(chromatic  or  diatonic)  to  the  given  degree... 
Conjunct  ynotion,  progression  by  conjunct  de- 
grees or  intervals. 

Consecutive  intervals.  Intervals  of  the  same  kind 
following  each  other  in  immediate  succession  ; 
"  consecutives"  are  progressions  of  parallel 
fifths  or  octaves,  forbidden  in  strict  harmony. 

Con'sequent.  In  a  canon,  the  Follower  ;  the  part 
imitating  the  antecedent  or  Leader. 

Conservatoire  (Fr..  kohn-sar-vah-twar').  \ 

Conservato'rium  (Latin).  >•  A  public 

Conservatory.  ' 

institution  for  providing  practical  and  theoretical 
instruction  in  music.  [soothing. 

Consolante     (It.,    kohn-soh-lahn'teh).      Consoling, 

Con'sonance.  A  combination  of  two  or  more  tones, 
harmonious  and  pleasing  in  itself,  and  requiring 
no  further  progression  to  make  it  satisfactory.. . 
hnperfect  cotisonances,  the  major  and  minor 
Thirds  and  Sixths.  ..Perfect  consonances.,  the  Oc- 
tave, Fifth,  and  Fourth. 

Consonant  chord,  one  containing  no  dissonant 
ir^^itrx^X. .  .Conso7iant  interval,  a  consonance  of 
two  tones. 

Contano  (It.,  kohn'tah-noh).     "They  count;"  in 
a  score,  parts  so  marked  are  to  pause. 

Continued  bass.  Bass  notes  provided  with  figures 
indicating  the  chords  to  be  performed  above  the 
bass  notes.  [continued  bass. 

Continue,  Basso  continue  (It.,  k6hn-te'n66-6h).     A 

Contra  (Lat.  ;  It.).  "Against;"  prefixed  to  names 
of  instruments,  it  means  "  an  octave  below." 

Contrabass.     A  double-bass.  [bass. 

Contrabbasso  (It.,  kohn-trahb-bahs'soh).     Double- 


Contraffagotto— Cornet  39 

Contraffagotto  (It.,  k6hn-trahf-fah-g6ht't6h).  i. 
Double-bassoon.— 2.     A  reed-stop  in  the  organ. 

Contraltino  (It.,  kohn  trahl-te'ndh).  A  high,  light 
tenor  voice  of  fluent  delivery. 

Contralto  (It.,  k6hn-trShKt6h).    See  ALTO  i. 

Centra-octave.  The  octave  below  the  Great  Oc- 
tave. 

Contrapun'tal.  Pertaining  to  the  art  or  practice 
ot"  counterpoint. 

Contrapun'tist.  One  versed  in  the  theory  and 
practice  of  counterpoint. 

Contrary  motion.  Parts  progress  in  contrary  mo- 
tion when  one  moves  up  while  the  other  moves 
down. 

Centre  (Fr.,  kohn'tr).  "Acrainst;"  contra-,  coun. 
tev- . .  .Contredanse,  the  Quadrille. 

Coperte  (It.,  k6h-par't6h).     Covered,  muffled. 

Cor  (Fr..  kor),  A  horn. . .  Cor  anglaia  (ahn-gla'),  the 
alt-oboe. 

Coranto  (It.,  kSh-rShn'tSh),  1.  Courante.— 2.  Coun- 
try-dance. 

Corda  (It.,  kor'dAh).  A  string.  [Plural  corde  (kor'- 
^h\\.)\. .  .Sopra  una  corda.  plav  "on  one  string." 
. . .  Una  corda,  or  U.  C,  take  soft  pedal  of  piano. . . 
Due  corde,  release  soft  pedal  ;  or  (when  the  soft 
pedal  shifts  the  keyboard).  "  play  with  soft  pedal 
pressed  halfway  down  "...In  violin-playing,  due 
corde  means  "play  the  note  on  two  strings.". . . 
Tutte  (/e)  corde,  "all  the  strings"  ;  that  is,  "re- 
lease the  soft  pedal." 

Cor'net.  A  brass  instrument  of  the  trumpet  family 
{corjtet  a  pislons),  with  conical  tube  and  cupped 
mouthpiece  ;  improved  from  the  old  post-horn 
by  the  addition  of  3  valves;  medium  compass 
2  octaves  and  3  tones;  it  is  a  transposing  instru- 
ment, and  noted  in  the  6^-clef : 


actual 
pitch: 


ma  noteu  m  me  c^^-ciet  :  _4_ 


this  being  for  the  ordinary  cornet  in  /?l?.— The 
old  cornet  was  a  wooden  instrument  with  finger- 
holes.— On  the  organ,  there  are  various  cornet- 
stops  :  '</)  Reed-stops  of  2,  4,  8,  and  16-foot  pitch  ; 
(*)  the  German  Kornetf,  of  2  or  4-foot  pitch,  on 
Ihe  pedal;  (r)  a  compound  stop  having  from  3  to 


40  Cornet  a  pistons— Counterpoint 

5  ranks  ;  {d)  the  Echo-cornet,  a  soft-toned  cornet- 
stop  enclosed  in  a  wooden  box  ;  {e)  the  Mounted 
corner,  mounted  on  a  separate  soundboard  to 
render  its  tone  louder. 

Cornet  a  pistons  (Fr.,  kor-na' ah  pes-tohn').  The 
ordinary  valve-cornet. 

Corno  (It.,  kor'noh).     A  horn  (plural  corni). 

Cornon  (Fr.,  kor-nohn')-  i.  A  cornet-stop.— 2.  A 
brass  wmd-instrument  of  broad  scale,  invented 
in  1844. 

Cornopean  (kor-no'pe-an).  i.  Cornet  a  pistons.— 
2.  An  organ-stop  on  the  swell-tnanual. 

Corrente  (It.,  kohr-ren'teh).     Courante. 

Corto,  -a  (It.,  kohr'toh,  -tah).  Short... Z-a  cadenza 
sia  corta^  let  the  cadenza  be  short. 

Cotillion  (Fr.  cotillon  [koh-te-yohn']).  A  French 
dance,  the  same  as  the  german,  to  quadrille- 
music,  [(reed-organ). 

Cottage  organ.  The  ordinary  portable  parlor  organ 

Cottage  piano,  i.  A  small  style  of  upright  piano. 
— 2.  A  small  grand  piano  m  upright  form,  in- 
vented by  Wilhelm  Kress,  of  Vienna,  in  1891. 

Coule  (Fr.,  koo-la').  Legato,  slurred;  also,  a  harpsi- 
chord-grace. 

Count.  An  accent,  beat,  or  pulse  of  a  measure... 
Counting,  the  marking  of  the  successive  beat.*; 
by  counting. 

Counter.  Any  vocal  part  set  to  contrast  with  the 
principal  part  or  melody;  specifically, the  counter^ 
tenor  Qcvx^Yv  tenor,  or  sXto)...  Bass  counter,  a  sec- 
ond \iaL's,^  -^^.tX..  ..Counter-exposition,  reentrance 
of  a  ivi^uG-^vCoiQcX..  ..Counter-subject,  a  fugal 
theme  following  the  subject  in  the  same  part... 
Counter-tenor,  a  voice  usually  developed  from 
the  head-tones  and  falsetto  of  a  bass-voice  ;  com- 
pass from ^ to  c"^ .. .Counter-tenor  clef,  the  C-clef 
on  the  2d  line  (obsolete). 

Counterpoint,  i.  The  art  of  polyphonic  composi- 
tion.— 2.  The  art  of  adding  one  or  more  parts 
(melodies)  to  a  given  part  (melody),  the  cantus 
Jirmus,  according  to  certain  rules  ;  hence,  one 
of,  or  all,  the  parts  so  added.  ..Double  counter- 
point is  so  written,  that  the  parts  can  be  inverted; 
single  counterpoint  is  not  intended  for  inversion; 
in  triple  and  quadruple  counterpoint,  3  and  4 
parts  are  written  so  that  they  can  be  mutually 
inverted. 


Country-dance — Crook  4X 

Country-dance.  A  dance  in  2-4  or  3-4  time,  in 
which  the  partners  form  two  opposing  lines, 
which  advance  and  retreat,  the  couples  also 
dancing  down  the  lines  and  returning  to  their 
places. 

Coupler.  A  mechanical  organ-stop  acting  to  con« 
nect  two  manuals,  or  pedal  with  manual,  so  that 
when  one  is  played  on,  the  other  is  combined 
with  it.  A  Coupler-pedal  is  a  coupler  worked  by 
the  foot. 

Couplet.  I.  Two  successive  lines  forming  a  pair, 
usually  rhymed. — 2.  In  triple  times,  2  equal  notes 
occupying'the  time  of  3  such  notes  in  the  regular 


rhythm,  thus 

Courante  (Fr.,  koo-rahn't).  A  Courant,  or  old 
French  dance  in  3-2  time  ;  hence,  the  instrumen- 
tal piece  so  called. 

Covered.     See  OCX. K\^.  ..Covered  strings,  strings 

of  silk,  wire,  or  gut,  covered  with  spiral  turns 

of  tine  silver  or  copper  wire. 
Cracovienne     (Fr.,     krih-koh-v'yen').       A    Polish 

dance  for  a   large  company,  the  music  in  duple 

time  with  frequent  syncopations  ; 

rhythm  :  -    S  m  m  »~\-» — • — • — • 

Cremo'na.  A  violin  made  at  Cremona,  Italy. — 2.  A 
Krummhorn. 

Crescendo  (It.,  krgh-shen'doh).  Swelling,  increa* 
ing  in  loudness. 

Crescendo-pedal.  A  pedal-mechanism  drawing  all 
stops  successively  up  to  "full  organ."..  .Also, 
the  swell-pedal. 

Crescent  ;  also  Chinese  crescent,  or  Pavilion.     An 

instrument    of    Turkish   origin,  used  in  military 
music  ;  it  has  crescent-shaped  brass  plates  hung 
around  a  staff  and  surmounted  by  a  cap  or  pavil- 
ion ;    around   the   plates    little    bells    are  hung, 
which  are  jingled  in  time  with  the  music.        rpg 
Crescente  (It.,  kr6h-shen't6h).     Same  as  Crescen- 
Cromorne  (Fr..  kr6h-morn0.    See  KRUMMHORN. 
Crook.     A  short  tube,  bent  or  straight,  which  can 
be  fitted  to  the  main  tube  of  a  horn  or  trumpet 
to  lower  the  pitch. 


42  Cross-flute— D 


Cross-flute.  One  held  across  the  mouth,  and 
blown  from  the  side. 

Cross  relation.     Same  as  FALSE  RELATION. 

Crotchet.  A  quarter-note. .  .Cr£»/c/r^/-r^j-/,  a  quar- 
ter-rest. 

Crowd  ;  also  Croud,  Crouth,  Crwth.  An  ancient 
Welsh  or  Irish  bow-instrument,  probably  the 
oldest  European  instrument  of  its  class.  Its 
square  body  was  terminated  by  2  parallel  arms 
joined  at  the  end  by  a  cross-bar,  the  centre  of 
which  supported  the  fingerboard  ;  it  had  origi- 
nally 3,  in  modern  times  6,  strings. 

Crush-note.     An  AcCL\CCATURA  2. 

Cue.  A  phrase,  from  a  vocal  or  instrumental  part, 
occurring  near  the  end  of  a  long  pause  in  another 
part,  and  inserted  in  small  notes  in  t/ie  Ja^ter  to 
serve  as  a  guide  in  timing  its  reentrance. 

Cupo,  -a  (It.,  koo'poh,  -pah).     Dark,  deep,  obscure; 

reserved..  .C^«  voce  cz^/a,  with  a  veiled,  intense 

tone. 
Cupped  mouthpiece.     The  shallower,  cup-shaped 

form  of  mouthpiece  for  brass  wind-instruments  ,- 

the    conical   (cone-shaped)    mouthpiece     is    the 

deeper  form. 
Cyclical  forms  of  composition  embrace  a  cycle  or 

set  of  movements  ;  like  the  old  Suite  or  Partita, 

or  the  Sonata,  Symphony,  and  Concerto. 
Cymbal,     In    the  organ,  a  mixture-stop  of  very 

high  pitch. 

Cymbals.  The  orchestral  cymbals  are  2  concave 
plates  of  brass  or  bronze,  with  broad,  flat  rims, 
and  holes  for  the  straps  by  which  they  are  held  ; 
used  to  mark  strong  accents,  or  to  produce 
peculiar  effects. 

Czardas  (Hungarian,  char'dahsh).  A  national  Hun- 
garian dance,  distinguished  by  its  passionate 
character  and  changing  tempo. 


D  (Ger.  D;  Fr.  re;  It.  re).  The  2d  tone  and  degree  in 
the  typical  diatonic  scale  of  C  major.— In  musical 
theory,  capital  D  desig;nates  the  Z>-major  triad, 
small  d  the  </-minor  triad.— Also  see  Pitch,  ab- 
solute.—Z?.  also  stands  for  Da  (D.  Q.  —  Da  capo), 
and  Dal{D.  ^.- Dal  segno). 


Da— Declamando 


Da  (It.,  dah).  Bv,  from,  for,  of. .  Da  capo,  from  the 
heginnin^. .  .Dii  capo  a/ yifte,  repeat  from  begin- 
ning  to  end  (that  is,  to  the  word  Fine,  or  to  a 
hold  ^...Da  capo  al  segtio,  from  the  beginning 
to  the  sign  (:tj:)...D.  C.  al  se,>:>io,  pot  isej^ue)  la 
coda,  from  the  beginning  to  the  sign,  then  play 
the  coda.  ..D.  C.  dal  segno,,  repeat  from  the  sign. 
D.  C.  senza  replica  (or  senza  ripetizione),  play- 
through  from  the  beginning  without  noticing  the 
repeats.  ..Da  esetruirsi,  to  be  executed. 

Dac'tyl(e>  (Lat.  dactyliis,  a  finger).  A  metrica- 
foot  with  syllables  arranged  like  the  finger- 
joints,  one  long  and  two  short ;  the  accent  on  the 
first  (_t.  -^  w). 

Dactyl'ion.  An  apparatus  for  finger-gymnastics; 
invented  by  Henri  Herz  in  1835. 

Dagli  (dahl'ye),  dai  (dah'e),  dal,  dall',  dalla,  dalle, 
dallo  (It.).     To  the,  by  the,  for  the,  from  the,  etc. 

Dal  segno  (It.,  dahl  .san'yoh).  From  the  sign. .  .Dal 
segno  al Ji>ie,  from  the  sign  to  the  end. 

Damenisation.  Graun's  system  of  sol-faing  with 
the  syllables  da,  me,  ni,  po,  tu,  la,  be. 

Damper,  i.  A  mechanical  device  for  checkingthe 
vibration  of  the  piano-string.. .Z)j:;«/>^r-/£?^d/,^ 
the  right,  or  loud,  pedal.— 2.  The  mute  of  a  brass 
instrument. 

Dash.    A  staccato-mark  (J  or  j^Y 

Dead-march.     A  funeral  march. 

Debile  (It.,  da'be-leh).     '  peeble,  weak. 
Debole(It.,da'b6h-leh).  » 
Dibut  (Fr.,  da-bu').     A  fir.st  appearance. 
Debutant  (Fr.,  da-bii-tan';  masculine).       \    ^         _ 
Debutante  (Fr.,  da-bu-tahn't';/<?w/;«'«^).  ' 
former  or  singer  who  appears  for  the  first  time. 

De'cima  (Lat.).  i.  The  interval  of  a  tenth.— 2.  An 
organ-stop  pitched  a  tenth  higher  than  the  8-foot 
stops.       ^ 

Decimole  (des'l-mol).     See  Decuplet.      [decision. 

Decisione,  con  (It.,  k5hn  da-che-ze-oh'n6h).    With 

Deciso  (It.,  da-che'z6h.)  Decided,  energetic,  with 
decision. 

Declamando  (It..  da-klSh-mShn'dSh).  "Declaim- 
ing"; in  declamatory  style. 


Declamation — Descant 


Declamation,  In  vocal  music,  clear  and  correct 
vnunciation  of  the  words. 

Declamato  (It.,  da-klah-mah'toh).  "Declaimed"; 
in  declamatory  style.  [in  loudness. 

Decrescendo  (It.,   da-cr§h-shen'd6h).     Decreasing 

Dec'uplet.  A  group  of  lo  equal  notes  executed  in 
the  time  proper  to  8  notes  of  like  value,  or  104 
notes  of  the  next  highest  value,  in  the  regular 
rhythm  ;  marked  by  a  slur  and  a  figure  10. 

Defective.     Same  as  DIMINISHED. 

Deferred  resolution.     See  RESOLUTION. 

Deficiendo  (It.,  da-fe-ts'yen'doh).     Dying  away. 

Degli  (It.,  dal'ye).    Of  the  ;  than  the. 

Degree,     i.  One  of  the   8   consecutive  tones  in   a 

major    or    minor    diatonic    scale.     Degrees    ar? 

counted  upward  from  the  keynote.— 2.  A  line  or 

space  on  the  staff.— 3.     A  step'. 
Dei  (It.,  da'e).     Of  the  ;  than  the.  j-^he 

Del,  deir,  della,   delle,    dello   (It.).    Of  the  ;  th-n 
Delayed  resolution.     See  RESOLUTION. 
Deliberamente  (It.,  deh-le-beh-rah-men'teh).  1  j-j 
Deliberato  (It.,  deh-le-beh-rah'toh).  ^ 

liberately.  [icately. 

Delicatamente  (It.,  dSh-le-kah-tah-men'teh).     Del- 
Delicatezza,    con    (It.,    kohn    deh-le-kah-tet'sah). 

With  delicac}'. 
Delicato  (It.,   deh-le-kah'toh).      Delicately ;    in    a 

delicate,  refined  st\'le. 
Delirante  (It.,   deh-lVrahn'teh).  ^^^j^^  .    ^^^.^._ 
Delirio,  con  (kohn  deh-le're-oh.   ' 

ously,  frenziedly. 
Demiquaver.       A  ifAYi-note . .  .Demt'semzguaver^    a 

32d-note. 

Dependent  chord,  harmony,  triad.  One  which  is 
dissonant,  requiring  resolution  to  a  consonant 
one.  [chromatic  lowering  of  a  tone. 

Depress.    To  lower  (as  by  a  t>  or  t>W- .  .Depression^ 
Deriv'ative.     i.  Same  as  derivative  chord,  that  is 
the  inversion   of  a  fundamental  chord.— 2.  The 
root  of  a  chord. 

Des  (Ger.,  dess).     Db 
Des'cant.     Same  as  DiSCANT. 


Deses— Di  colta  43 


Deses  (Ger.,  dess'ess).     D  double-flat. 

Desiderio,  con  (It.,  k5hn  deh-se-da're-6h).  With 
desire  ;  longingly,  yearningly. 

Desto  vlt.,  deh'stoh).     Sprightly. 

Destra  (It.,  deh'strSh).  '^\'g\\t...Mano  destra  {de- 
stru  manOy  colla  destra),  •'  play  with  the  right 
hand."     (Abbreviated  m.  d.) 

Detache  (Fr.,  da-tah-sha').  In  violin-playing,  "de- 
tached," that  is,  playing  successive  notes  with 
down-bow  and  up-bow  in  alternation,  but  not 
staccato. . .  Grand  detache,  a  whole  stroke  of  the 
bow  to  each  note.  [mined,  resolute. 

Determinato     (It.,     deh-tar-ine-nah'toh).      Deter- 

Deux  (Fr.,  do).  Two.  ..A  deux  tnains,  for  2  hands. 
..  .Deux  temps,  or  Valse  a  deux  temps,  a.  "two- 
step  "  waltz. 

Development.  The  working-out  or  evolution 
(elaboration)  of  a  theme  by  presenting  it  in  varied 
melodic,  harmonic,  or  rhythmic  treatment. 

Devoto  (It.,  deh-vo'toh).  i  In    a 

Devozione,  con  (kohn  deh-v6h-tse-oh'neh).  ' 
devotional  style  ;  devoutly. 

D-flute.     The  orchestral  or  German  flute. 

Di  (It.,  de).     Of,  from,  to,  by  ;  than 

Diapa'son.  i.  An  octave.— 2.  Either  of  the  2  prin- 
cipal foundation-stops  of  the  organ,  both  of  8- 
foot  pitch  ;  (a)  the  open  diapason.,  with  metal  pipe3 
open  at  the  top,  and  {b)  the  stopped  diapason^ 
with  wooden  pipes  closed  at  the  top  with  wooden 
plugs.  Pedal  diapasons  are  usually  16-foot  stops. 
—3.  Compass  of  a  voice  or  instrument  (in  poetical 
usage).— 4.  A  fixed  pitch;  the  "normal  diapa- 
son "  is  an  accepted  standard  of  pitch. 

Diapason-tone.     Same  as  ORGAN-TONE. 

Diaton'ic.  By,  through,  with,  within,  or  embrac- 
ing the  tones  of  the  standard  major  or  minor 
&ca.\e... Diatonic  /larmony  or  melody,  that  em- 
ploying the  tones  of  but  one  scale. .  '.Diatonic  in- 
strument, one  yielding  only  the  tones  of  that 
scale  of  which  its  fundamental  tone  is  the  V.ay- 
noie... Diatonic  interval,  one  formed  by  2  tones 
of  the  same  scale.  .Diatonic  modulation,  see 
MODULATIO.V . . .  Diatonic  progression,  stepwise 
progression  within  one  scale..  .Diatonic scale,  see 
SCALK. 

Di  colta  (It.,  de  kol'tSh).     Suddenly,  at  once. 


46  Difficile — Discrezione 

Difficile  (It.,  def-fe'che-leh).  *  difficult 

Difficile  (Fr.,  de-fe-sel').  ' 

Di  gala  (It.,  de  gah'lah).    Gaily,  merrily. 

Digital  (di'ji-tal).  A  key  on  the  keyboard  of  the 
piano,  organ,  etc. 

Dignita,  con  (It.,  kohn  den-ye-tah').     With  dignity. 

Dilettante  (It.,  de-let-tahn'teh).     An  amateur. 

Diligenza,  con  (kohn  de-le-jen'dzah).  "With  dil- 
igence ";  carefully. 

Diluendo  (It.,  de-loo-en'doh).  Growing ^ofter,  dy- 
ing away. 

Diminished  interval,  a  perfect  or  minor  interval 
contracted  by  a  chromatic  semitone. .  .ZJz'wzw- 
islied  chord,  one  whose  highest  and  lowest  tones 
form  a  diminished  interval. . . Dimi7iisJied  subject 
or  thetne,ox\fi  repeated  or  imitated  in  diminution. 
...Diminished  triad,  a  root  with  minor  Third 
and  diminished  Fifth. 

Diminuendo  (It.,  de-me-noo-en'doh).  Diminish- 
ing in  londness .  .  Dimitiuendo  pedal,  a  pedal- 
mechanism  for  gradually  pushing  in  the  stops 
(organ). 

Diminution.  The  repetition  or  imitation  of  a 
theme  m  notes  of  smaller  time- value  (J^,  >^,  or  H 
that  of  the  original). 

Di  molto  (It.,  de  mohl'toh).     Very,  extremely;  alle^ 

gro  di  molto,  extremely  fast. 
Di  nuovo  (It.,  de  no'voh).     Anew  ;  over  again. 
Direct.     The  sign  a^  or  1/  set  at  the  end  of  a   stafiE 

to    show   the  position  of  the  first  note  on  the 

next  staff 
Direct  motion,  resolution,  turn.    See  the  nouns. 
Diritto.  -a  (It.,  de-rit'toh,  -tah).    Direct,  straight... 

Alia  diritta,  in  direct  motion. 
Dis  (Ger.,  diss),     Dii. 
Dis'cant.     i.  The  first  attempts  at  polyphony  with 

contrary   motion   in    the    parts    (12th   century); 

opposed  to  the  or'ganum,  in  which  parallel  motion 

was  the  rule. — 2.  Treble  or  soprano  voice  ;  the 

highest  part  in  part-music. 
Discord,     i.  Cacophony. — 2.  Dissonance. 
Discretezza,  con  (It.,  kohn  de-skreh-tet'sah).        ( 
Discrezione,  con  (It.,  kohn  de-skreh-tse-oh'neh).  ' 

"With  discretion  ";  discreetly,  cautiously. 


Discrete— Divisi  47 


Oiscreto   (It.,   de-skra't6h).      Discreet;    compara- 
tively subdued.  [Disis). 
Disdis  (Ger.,  diss'diss).     D  double-sharp  (usually 
Disinvolto      (It.,      de-zin-v6hl't6hj       Free,     easy, 
graceful. 

Disinvoltura,  con  (It.,  k6hn  de-zin-v6hl-too'rah). 
With  ease,  grace  ;  flowingly. 

Disis  (Ger..  diss'iss).    D  double-sharp. 

Disjunct' motion.     Progression  by  leaps.         [less. 

Disperato  (It.,  de-.speh-rah'toh).     Desperate,  hope- 

Disperazione,  con  (It.,  kohn  de-spSh-rSh-tse-oh'- 
neh).  In  a  style  expressive  of  desperation  or 
despair. 

Dispersed  harmony.     See  HarmON'V. 

Dis'sonance.  A  combination  of  2  or  more  tones  re- 
quiring resolution. 

Dissonant  interval.  Two  tones  forming  a  disso- 
nance. The  dissonant  intervals  are  the  Seconds. 
Sevenths,  and  all  diminished  and  augmented 
mx.*iv\-a.\s. .  .Disso?iant  chord,  one  containing  one 
or  more  dissonant  intervals. 

Distance.     Interval.     fSeldom  used.] 

Distanza  (It,  de-stahn'tsah).  Interval;  distance. 
. .  .Jn  distanza,  at  a  distance,  marking  music  to 
be  performed  as  if  far  away. 

Distintamente  (It.,  de-stin-tih-men'teh.  Distinctly. 

Distinto  (It.,  de-stin't6h).     Distinct,  clear. 

Dital  (dit'al).  A  key  which,  on  pressure  by  the 
finger  or  thumb,  raises  the  pitch  of  a  guitar- 
string  or  lute-string  by  a  .semitone. .  .  Dital  harp, 
a  guitar-shaped  lute  with  12  to  18  strings,  each 
having  a  dital  to  raise  its  pitch  a  semitone  ;  in- 
vented by  Light  in  1798. 

Divertimento  (It.,  de-var-te-men't6h).      \    .      lip-ht 

Divertissement  (Fr.,  de-var-tes-mShn').  ' 
and   easy  piece  of  instrumental  music.     Also,  an 
instrumental  composition  in  6  or  7  movements, 
like  a  Serenade.     Also,  an  entr'acte  in  an  opera, 
in  the  form  of  a  short  ballet,  etc. 

Divide.     To  play  Divisions. 

Divisi  (It.,  de-ve'ze).  "  Divided."  Signifies  that  2 
parts  written  on  one  staff  are  not  t«>  be  played  as 
double-stops,  but  by  the  division  into  2  bodies  of 
the  instruments  playing  from  that  staflf.  Divise 
(de-ve'zeh;  is  the  feminine  form. 


48  Division— Dominant 

Division.  A  "dividing-up  "  of  a  melodic  series  of 
tones  into  a  rapid  coloratura  passage  ;  if  for 
voice,  the  passage  was  to  be  sung  in  one  breath. 
(Obsolete.)—  To  run  a  division^  to  execute  such  a 
passage. .  .Division-viol^  the  Viola  da  gamba. 

Division-mark.  The  slur  or  bracket  written  for 
triplets,  quadruplets,  etc.,  with  a  figure  j,  4,  etc. 

Divoto,  Divotamente.     See  Devoto,  etc. 

Do.  The  Italian  name  for  (7.— In  solmisation,  the 
usual  syllable-name  for  the  ist  degree  of  the 
scale,  in  the  fixed-Do  method  of  teaching.  Do  is 
the  name  for  all  notes  bearing  the  letter-name  C, 
whether  keynotes  or  not ;  in  the  tnovable-Do 
method.  Do  "is  always  the  keynote. 

Dodec'uplet.  A  group  of  12  equal  notes,  to  be  per- 
formed in  the  time  of  8  notes  of  the  same  kind  iq 
the  regular  rhythm. 

Doh  stands  for  Do  in  Tonic  Sol-fa. 

Dolce  (It.,  dohl'cheh).  i.  Sweet,  soft,  suave. — 2, 
A  sweet-toned  organ-stop. 

Dolcemente  (It.,  dohl-cha-men'teh).  /  Sweetly^ 

Dolcezza,  con  (It.,  kohn  dohl-chet'sah).  i    softly. 

Dolcian  (Ger.,  dohl-tsiahn')-      ) 

Dolciana  (It.,  dohl-chah'nah).  r  An    early   kind    of 

Dolciano  (It.,  dohl-chah'noh).  ' 
bassoon  ;  now,  an  8-  or  16-foot  reed-stop  in  tha 
organ  ;  a  Fagotto. 

Dolciato  (It.,  dohl-chah'toh).     Softer,  calmer. 

Dclcissimo  (It.,  dohl-chis'se-moh).  Very  sweetly, 
softly  ;  also,  a  very  soft-toned  8-foot  fiute-stop 
in  the  organ. 

Dolendo  (It.,  doh-lenMoh).  1  Doleful, plaintive,sad. 

Dolente  (It.,  doh-len'teh).     ' 

Dolentemente  (It,  doh-len -teh-men'teh).  Dole- 
fully, plaintively. 

Dolore,  con  (It.,  kohn  doh-loh'reh).  1 

Dolorosamente  (doh-loh-roh-sah-men'teh).  >•    In    a 

Doloroso  (doh-loh-roh'soh).  ' 

style  expressive  of  pain  or  grief  ;  pathetically. 

Dolzflote  (Ger.,  dohlts'flo'te).  An  8-foot  open 
flute-stop  (organ). 

Dom'inant.  The  fifth  tone  in  the  major  or  minor 
&ca.\Q.  ..Dofn.  chord,  ia)  the  dominant  triad;  {b) 
the  dom.  chord  of  the  ■jth...Dom.  section  of  a 


Dopo — Double  quartet  49 

movement,  a  section  written  in  the  key  of  the 
dominant,  lying  between  and  contrasting  with 
two  others  in  the  key  of  the  tonic.  ..Dom.  triads 
that  having  the  dominant  as  root. 

Dopo  (It.,  doh'poh).     After. 

Doppel  (Ger.,  ddhp'pSl).     Double. 

Dop'pelgriflf'  (Ger.).  Double-stop  (violin)  ;  Doppel- 
griffe^  Thirds,  Sixths,  etc.,  played  with  one  hand 
(piano). 

Doppio  (It.,  d6'p!-6h).  V>o\x\>\g.  ..Doppio  tnovt'men- 
to,  twice  as  last. .  .Doppio  note  or  doppio  valore, 
twice  as  slow  (that  is,  the  absolute  time-value  of 
the  notes  is  do\xh\Q6.)... Doppio  pedale,  pedal-part 
in  octaves. 

Dot.  A  dot  set  after  a  note  prolongs  its  time- 
value  by  half  (^' .  —  ^'  J);  a  second  or  third 
dot  prolongs  the  time-value  of  the  dot  imme- 
diately preceding  it  by  half    (J..  =  J      J^  ^^V 

Double.  I.  A  variation.— 2.  Repetition  of  words  in 
a  song.— 3.  In  organ-playing,  a  16-foot  stop  (ac- 
companying the  8-foot  stops  in  the  lower  octave). 
—4.  A  substitute  singer.— 5.  In  change-ringing, 
changes  on  5  \>Q\\^.—(i  {adjective).  "Producing  a 
tone  an  octave  lower "  ;  as  double-bassoon, 
double-bourdon,  etc.— 7  {verb).  To  add  the  higher 
or  lower  octave  (to  any  tone  or  tones  of  a  melody 
or  harmony). 

Double-bar.  The  2  vertical  lines  drawn  through 
the  staff  at  the  end  of  a  section,  movement,  or 
piece. 

Double-bass.  The  largest  and  deepest-toned  in- 
strument of  the  violin  familv,  with  either  3  strings- 
{G^-D-A  being  the  Italian,' .-/j-Z^-e^  the  English 
tuning),  or  4  strings  {E^-A^-D-G).    See  Violin. 

Double  chorus.  One  for  2  choirs,  or  divided  choir  ; 
usually  in  8  parts. 

Double  counterpoint.     See  COUNTERPOINT. 

Double-flat.     The  sign  I?!?. 

Double  fugue.     One  with  2  themes. 

Double-octave.   A  15th,  or  the  interval  of  2  octaves. 

Double  quartet.  A  quartet  for  2  sets  of  4  solo- 
voices,  or  of  4  solo  instruments. 


50  Double  reed — Drum 

Double  reed.     A  free  reed. 

Double-sharp.     The  sign  X. 

Double-stop.  In  violin-playing,  to  stop  2  strings 
together,  thus  obtaining  2-part  harmony. 

Double-tongue.  In  playing  the  flute,  and  certain 
brass  instruments,  the  application  of  the  tongue 
in  rapid  alternation  to  the  upper  front  teeth  and 
the  palate,  to  obtain  a  clear-cut  and  brilliant 
staccato. 

Doublette  (Fr.,  doo-blet')-  A  2-foot  organ-stop, 
octave  of  the  Principal. 

Douce  (Fr.,  doos).  I  g^^^^  ^^^^^^  ^^^^^^ 

Doux  (Fr.,  doo).      ' 

Doucement  (Fr.,  doos-mahn')-  Softly,  sweetly, 
suavely. 

Down'-beat.  i.  The  downward  stroke  of  the  hand 
in  beating  time,  which  marks  the  primary  or 
first  accent  in  each  measure. — 2.  Hence,  the  ac- 
cent itself  (strong  beat,  thesis). 

Down'-bow.  In  violin-playing,  the  downward 
stroke  of  the  bow  from  nut'to  point ;  on  the  'cello 
and  double-bass,  the  stroke  from  nut  to  point. 
Usual  sign  fH  • 

Dramatic  music,  i.  Program-music— 2.  Music  ac- 
companying and  illustrating  an  actual  drama  on 
the  stage. 

Drammaticamente(drahm-mah-te-kah-men'teh).  I 

Drammatico  (It.,  di  ahm-mah'te-koh).  ' 

Dramatically  ;  in  a  vivid,  dramatic  style. 

Drangend  (Ger.,  dreng'ent).  Pressing,  hastening  ; 
strhigendo. 

Draw-stop.    Any  organ-stop  drawn  by  hand. 

Drei  (Ger.,  dri).     Three. 

Drohnend  (Ger.,  dro'nent).     Thundering;  tonando. 

Droit  (Fr.,  drwah).       U ight ;    main    drotte,   right 

Droite  (Fr.,  drwah't).  )       ^      ' 
hand. 

Drone.  In  the  bagpipe,  a  continuously  sounding 
pipe  of  constant  pitch;  a  drone-pipe. .  .Drofte-bass, 
a  bass  on  the  tonic,  or  tonic  and  dominant,  which 
is  persistent  throughout  a  movement  or  piece,  as 
in  the  Musette  2. 

Drum.  An  instrument  of  percussion,  consisting  of 
a  cvlindrical,  hollow  body  of  wood  or  metal,  over 
one'  or  both  ends  of  which  a  membrane  {X.hQhead). 


D-string— Duodrama 


is  s'lretched  tightly  by  means  of  a  hoop,  to  which 
is  attached  an  endless  cord  tightened  by  leathern 
braces,  or  by  rods  and  screws,  /^/ly/ Jimical  ^vums 
(side-drum,  snare-drum,  bass  drum)  do  not  vary 
in  pitch;  fiiusicai  drums  (the  Kettledrum)  produce 
musical  tones  distinct  in  pitch. 

D-string.  The  3d  string  on  the  violin  ;  2d  on  the 
viola,  'cello  and  double-bass. 

Due  (It.,  doo'eh).  Two..  .A  due,  {a)  for  2  ;  as  a  due 
I'oci,  for  2  parts  or  voices  ;  {b)  both  together  (after 
Divisi). . . Due  corde,  see  Corda .  ..Due volte,  twice. 
. .  .1  due  pedali,  both  (piano-)  pedals  at  once. 

Duet,  I.  A  composition  for  2  voices  or  instruments. 
— 2.  A  composition  for  2  performers  on  one  instru- 
ment, as  the  piano.— 3.  A  composition  for  the 
or}>:an,  in  2  parts,  each  to  be  played  on  a  separate 
manual. 

Duetto  (It.,  doo-et'toh).     Duet. 

Dulciana,  i.  An  organ-stop  having  metal  pipes  of 
a  somewhat  sharp,  thin  tone.— 2.  A  small  reed- 
stop  of  delicate  tone. — 3.  A  small  bassoon. 

Dulcimer,  An  ancient  stringed  instrument,  hav- 
ing wire  strings  stretched  over  a  soundboard  or 
resonance-box,  and  struck  with  mallets  or  ham- 
mers. The  modern  dulcimer  has  from  2  to  3 
octaves'  compass  (see  Pani  .\LON) ;  it  was  a  pre- 
cursor of  the  pianoforte. 

Dumb  piano.  A  small  keyboard  in.strument  re- 
sembling a  piano,  but  without  hammers  and 
strings  ;  intended  for  silent  finger-practice. 

Dumka  (Polish.  d66m'kah).  A  sort  of  vocal  or 
instrumental  Romance,  of  a  melancholy  cast;  a 
lament  or  elegy. 

Dummy  pipes.  Pipes  which  do  not  speak,  dis- 
played  in  the  front  of  an  organ. 

Duo  (It.,  doo'6h).  A  duet.  — Z?«^  is  sometimes  dis- 
tmguished  from  Duet  by  applying  the  former 
term  to  a  2-part  composition  for  2  voices  or  instru- 
ments of  different  kinds,  and  the  latter  to  a  2-part 
composition  for  2  voices  or  instruments  of  the 
same  kind.— Also,  a  composition  in  2  parts  {or one 
instrument ;  for  example,  a  violin-</Kt7,  in  contra- 
distinction to  a  violin-^///*/  for  t'vo  violms. 

Duodecima  (It.,  doo-6h-d5'che-mah).  i.  The  inter- 
val of  a  Twelfth.— 2.  The  Twelfth  (organ-stop). 

Duodrama.  A  kind  of  melodrama,  or  spoken  d;a. 
logue  accompanied  by  music. 


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EboIEiziocic  (a-lMM-le-tseMafc^efeX.        '^^ 

a  smidem  aimd  pasat^miaKe  expressiQiii  (a£  feeffiang. 
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EC3i»  (Itu  Sir*k®ii)iL    EcfeQ^ 

E^  If  ■iinr  (Fr.,  a-fcofe-saa^i.    QTt.gfnaliTy, 

mnsoniBd  dance  in   i— 1   Q'r  ^-4.  tune  ;   cm^ipv  • 

(mautiunsi^aaae  in  ^-^"time-  k  Co  nipajre ; " 
EdCIBUc^    And.    (SeeE.) 


Edel— Emphase.  mit  S3 

Edel  ^Ger.,  a'deH.  Xoble  ;  refined,  chaste. 
Effetto  (,U.,  ef-fet'tOht.  Effect,  impression. 
Effusione,  con  ^It.,  k6hn  ef-foo-ze-oh'n§h).     With 

effusion;  with  warmth. 
Eguaglian^a,  con  (.It-,  kohn  a-gu5.hl-ya,hn'tsih).  *_ 
Egualmente   ilt.,  a-guahl-men'tehV  * 

Evenly,  smoothly;   tvn  moita  eguaglianza,  very 

smoothly,  evenly. 
Eguale  i^It.,  a-guah'leh).     Equal ;  even,  smooth. 
Eighteenth.     Interval  of  2  octaves  and  a  Fourth. 
Eighth.      I.    An  octave —2.    An  eighth-note    (see 

Elem.  of  Notation,  p.  iii). 
Eilen  iGer..  i'len\   To  hasten,  accelerate,  go  faster. 
Eilend  (,Ger.,  i'lent).     Hastening  ;  stringendo. 
Eilig  (Ger.,  i'I!yh\    Hasty,  hurriedly  ;  rapid, swift. 
Ein.  Eins  (Ger.,  in.  Ins).     One. 
Einfach  (Ger.,  In'fah).     Simple  ;  simply  ;  semflice. 
Eingang  (Ger..  In'gahng*).     Introduction. 
Els  (Ger.,  a'iss).     £"5. 

Eisis  I'-ter.,  a'iss-iss">.     £"  double-sharp.       U'slanct'o. 
Elan,  avec  (Ft.,  Sh-vek'  a-lahn').     With  dash  ;  con 
Elargissez  (Fr.,  a-lar-zhe-se')-    Allargate. 
Elegante  (It..  a-la-gahn'teh\  \ 

Elegantemente  (,— gahn-ta-men'teh').  ^  In    an    ele- 
Eleganza.  con  (kohn  a-la-gShn'tsah).  ' 

gan:.  graceful,  refined  stvle. 

El'egy.     A  vocal  or  instrumental  composition  of  a 

melancholy  cast,  having  no  fixed  form. 
Elevate  (It.,  a-la-vah'toh).  Elevated,  lofty,  sublime. 
Elevazione,  con  (It.,  kohn  a-la-vih-tse-oh'neh).    In 

a  lofty,  elevated  style. 

Embellishment.     See  GRACE. 
Emozione  (It.,  a-m5h-tse-oh'n§h).     Emotion. 
Empfindung,    mit    (.Ger.,    mit     em-pfin'd6<5ng*).  \ 
EmpfindungsvoU     (Ger..      em-pfin'd65ngs-f6hl).  ' 

\\  ith  emotion,  feelingly,  full  of  feeling. 
Emphase,   avec   (Fr.,   ih-vek' Shn-fahz').    '.    With 
Emphase,  mit  (Ger.,  mit  em-fah'z§).  ' 

emphasis. 


04 


Enchainez — Entusiasmo,  con 


Enchainez  (Fr.,  ahn-sha-na').  "Go  on  directly"; 
attuccute. 

Encore  (Fr.,  ahn-kor').  "Again!"  (so  used  in 
English  wlien  recalling  an  actor  or  singer ;  the 
French  cry  "  bis  !  ''j.— Also,  a  recall  on  the  stage  ; 
or,  the  piece  or  performance  repeated  or  added. 

En  elargissant  (Fr.,  ahn  a-lar-zhe-sahn')-  Allar* 
gando. 

Energia,  con  (It.,  kohn  a-nar-je'ah). 

Energicamente  (It.,  a-nar-je-kah-men'teh). 

Energico  (It.,  a-nar'je-V6h). 

Energie,  avec  (Fr.,  ah-vek'  a-nar-zhi'). 

Energisch  (Ger.,  a-nar'gish). 
energy  and  <-'  ;cision,  energetically.  A  passage 
so  marked  is  ic  be  vigorously  accented  and  dis- 
tinctly phraied. 

Enfasi,  con  (It.,  kohn  en-fah'ze).  /With    emphasis, 

Enfatico  at.,  en-fah'te-koh).  J"  emphatic. 

English  horn.     The  alt-oboe,  or  Cor  ajiglais. 

Enharmonic  tones  are  tones  derived  from  different 
degrees,  but  practically  identical  in  pitch;  like 


With 


C1^  and  d-y  on  the  ] 'a.no  or  organ.  ..Bn/iarmo?iic 
cliords  are  chords  diitering  in  notation  but  alike 
in  sound;  such  chords  are  called  "  enharmonically 
changed,"  aud  passing  from  one  to  the  other  is 
an  ••  enharmonic  modulation  ". .  .Enliarmonic  in- 
terval, one  formed  between  2  enharmonic  tones. 

En  mesure  (Fr.,  ahn  mu-zur').     See  MISUR.'^TO. 

Ensemble  (Fr.,  ahn-sahn'bl').  i.  General  effect  (of 
a  composition).— 2.  Style  of  performance  (of  a 
body  of  vcya.siQ.xan'^.  ..Morceaii  d^ensemble,  con- 
certed piece. 

Entr'acte  (Fr.,  ahn-trahkt').  "Interval  between 
acts'";  hence,  a  light  instrumental  composition  or 
short  ballet,  for  performance  between  acts. 

Entrata  (It.,  en-trah'tah).  I    ^   rj.^^  orchestral  pre- 

Entree  (Fr.,  ahn-traO-         ' 
lude  to  a  ballet,  following  the  overture.— 2.  A 
division  in  a  ballet  like  a  "  scene  "  in  a  play. — 
3.  An  old  dance  like  a  Polonaise,  usually  in  4-4 
time. 

Entschlossen  (Ger.,  ent-shlohs'sen).  Resolutely, 
in  a  determined  manner. 

Entusiasmo,  con  (It.,  kohn  en-too-ze-ahz'mohX 
With  enthusiasm. 


Episode— Espressivo  55 

Episode  (ep'i-sod).  An  intermediate  or  incidental 
section;  in  the  fugue,  a  digression  from  the  prin- 
cipal theme,  interpolated  between  the  develop- 
ments of  the  latter.  [form. 

Equabile  (It.,  a-kwah'be-leh).     Equable;  even,  uni- 

Equabilmente  (It.,  a-kwah-bel-men'teh).  Evenly, 
smoothly. 

Equal  counterpoint.     Counterpoint  in  equal  notes. 

Equal  temperament.     See  Temfekament. 

Equal  voices.  Voices  of  the  same  class;  that  is, 
either  women's  and  boys'  (soprano  and  altoj,  or 
men"s  (tenor  and  bass). 

Equiv'ocal  chord.  A  dissonant  chord  of  uncertain 
resolution,  like  the  diminished  7th. 

ErgrifFen  (Ger.,  ar-grif'fen).     Aflfected,  stirred. 

Ergriffenheit  (Ger.,  ar-grif'fen-hit).  Emotion,  agi- 
tation. 

Erhaben  (Ger.,  ar-hah'ben).     Lofty,  exalted. 

Erhabenheit  (Ger.,  ar-hah'ben-hit).  Loftiness, 
sublimity. 

Ermattet  (Ger.,  Sr-maht'tet).    Exhausted,  wearied. 

Ernst  (Ger.,  arnst).     Earnest,  grave. 

Eroico,  -a  (It.,  a-roh'e-koh,  -kah).  Heroic;  strong 
and  dignihed. 

Erschuttert  (Ger.,  ar-shiit'tert).    Shaken,  agitated. 

Erzahlung  (Ger.,  ar-tsa'166ngk).  Story,  tale,  nar- 
ration. 

Es  (Ger.,  ess).     E^. 

Esaltazione,  con  (It.,  k6hn  a-zShl-tah-tsc-oh'neh). 
With  exaltation;  in  a  lofty,  fervent  style. 

Esclamato  (It.,  eh-sklSh-mah'tdh).  "  Txclaimed  "; 
forcibly  declaimed. 

Eses  (Ger.,  ess'ess).    ^double-flat. 

Espandendosi  (It.,  6h-sp3.hn-den'd6b  se).  Growing 
broader  and  fuller;  with  growing  intensity. 

Espansione,  con   (It.,  kohn  6h-sp5.hn-se-oh'neh).  » 

Espansivo  (It.,  eh-spShn-se'vOh).  ' 

With  intense  feeling.  [expiring. 

Espirando    (It.,   6h-spe-rahn'd6h).       Dying    away, 

Espressione,  con  (It.,  kohn  eh-spres-se-oh'neh).  »_ 

Espressivo  (It.,  eh-spres-se'v5h).  * 

With    expression,   expre>%sively. . .  Cc>«   molia  (or 
molt')  espressione^  very  expressively. 


56  Essential— Extension-pedal 

Essential.  Any#or  t>  belonging  to  a  key-signature. 

Essential  harmony.  See  HARMONY.  ..Bssentia/ 
note,  chord-note,  or  melody-note.  ..^'j'^^w/'/a/ 
seventh^  the  leading-tone;  also,  the  dominant  7th- 
chord. 

Estinguendo  (It.,  Sh-stin-gwen'doh).  Extinguish- 
ing; dying  away. 

Estinto  (It.,  eh-stin'toh).  Barely  audible;  the  ex- 
treme oi  piafiissimo.  [tremely. 

Estremamente     (It.,    eh-stra-m5.h-men'teh).      Ex- 

Estro  poetico  (It.,  a'stroh  poh-a'te-koh).  Poetic 
fervor. 

Etude  (Fr.,  a-tiid').  A  study;  especially,  one  af- 
fording prac,tice  in  some  particular  technical 
difficulty. .  .j5'/«^^  de  concert^  one  designed  for 
public  performance. 

Etwas  (Ger.,  et'vahss)     Rather,  somewhat. 

Euphone  (u-fo'ne).  In  the  organ,  a  16-foot  free-reed 
stop,  with  a  soft,  sweet  tone  like  the  clarinet. 

Eupho'nium.  i.  An  instrument  invented  \>y  Chladni 
in  1790,  consisting  of  graduated  glass  tubes  made 
to  sound  by  the  moistened  fingers,  and  connected 
with  steel  rods. — 2.  The  bass  saxhorn. 

Evaded  cadence.     See  CADENCE. 

Evening-song,  Even-song.  In  the  Anglican  Church, 
a  form  of  worship  appointed  to  be  said  or  sung  at 
evening;  known  as  Vespers  in  the  R.  C.  Church. 

Execution,  i.  Style,  manner  of  performance. — 
2.  Technical  ability. 

Exercise.  A  short  technical  study  for  training  the 
fingers  (or  vocal  organs)  to  overcome  some  special 
difficulty.— Also,  a  short  study  in  composition. 

Exposition.    Same  as  Development. 

Expression-mark.  A  written  direction  (either  a 
sign,  word,  or  phrase)  for  the  performance  of  a 
piece. 

Expression-stop.  In  the  harmonium,  a  stop  which 
closes  the  escape-valve  of  the  bellows,  so  that 
wind-pressure,  and  intensity  of  tone,  are  partly 
controlled  by  the  pedals. 

Expressive  organ.     The  harmonium. 

Extended  compass.  Tones  beyond  the  usual  range 
of  a  voice  or  instrument.  [terval.. 

Extended  harmony,  interval.  See  HARMONY,  IN- 

Extension-pedal.     The  loud  (right)  piano-pedal. 


Extreme  interval — Fanfare 


57 


Extreme  interval.  Augmented  interval.  —  The 
chord  of  the  extreme  sixth  has  a  major  Third  and 
sharp  Sixth,  and  occurs  on  the  6th  degree  in 
minor  in  3  principal  forms  : 

I  (Italian  Sixth),  a  (French  Sixth).  3  (German  Sixth). 


Extreme  key.    A  key  having  more  than  3  sharps  or 

flats. 
Extreme  parts.     In  part-music,  the  outer  parts. 


F  (Ger.  F;  Fr.  and  It.  fa).  The  4th  tone  and 
degree  in  the  typical  diatonic  scale  of  C  major. . . 
f=  forte  :  ff  or  fff=  fortissimo. —A\^o  see  PITCH, 

ABSOLUTE. 

Fa.  I.  In  solmisation,  the  usual  name  for  the  ^th 
degree  of  the  scale.— 2.  Name  of  the  tone  /-  in 
Italv,  France,  etc. 

Facile  (It.,  fah^che-lSh).  I  p^^i,  ^^^^^ 

Facile  (Fr.,  f^h-sel').         '  '        ^' 

Fagott  (Ger.,  fS-h-gSht').  Bassoon.— Also,  a  reed- 
stop  in  the  organ. 

Fagotto  (It.,  fah-g6ht't6h).     Bassoon. 

Fah.     In  Tonic  Sol-fa,  it  stands  for  Fa. 

False.  Wrong  in  pitch  or  harmony. .  .False cadence^ 
fifths  harmony^  see  the  nouns. 

False  relation.  The  chromatic  contradiction  of  a 
tone  in  one  part  by  another  part;  it  consists  in 
sounding,  either  together  or  in  succession,  a  tone 
and  its  chromatically  altered  octave. 

Falsetto.     The  highest  of  the  vocal  registers. 

Fandango  (vSpanO-  A  lively  dance  in  triple  time, 
for  2  dancers  of  opposite  sex,  who  accompany  it 
with  castanets  or  tambourine. 

Fanfare  (fan'far).  A  flourish  of  trumpets  or  trum- 
pet-call. 


Fantaisie— Feses 


Fantaisie  (Fr.,  fahn-ta-zeO-     i 

Fantasia  (It.,  fahn-tSh-ze^ah).  Vi.  An  improvisation. 

Fantasie  (Ger.,  fahn-tah-ze').  ^ 
—2.  An  instrumental  piece  in  free  imitation  (17th 
and   i8th  centuries). — 3.    A  composition    free  in 
form  and  more  or  less  fantastic  in  character;  a 
Fantasy.— 4.  A  pot-pourri  or  paraphrase. 

Fantasia,  con  (It.).     Fancifully,  spiritedly. 

Fantastico    (It.,    fShn  -  tah'ste  -  koh).      Fantastic, 
fanciful. 

Farandola  (It.,  fah-rahn-doh'lah).  I  ^  circle-danc«- 

Farandole  (Fr.,  fah-rahn-dohl').      ' 
in  6-8  time  and  very  rapid  tempo. 

Farce.      A  one-act    opera    or    operetta  of    ultra* 
comical  or  burlesque  character. 

Fastosamente    (It.,  fah-st6h-s5.h-men'teh).      Pom- 
pously ;  in  a  stately  style. 

Fastoso  (It.,  fah-stoh'soh).     Pompous,  stately. 


F-clef.    The  bass  clef :  ^i 


Feierlich  (Ger.,  fi'er-liyh).   Festive;  solemn,  grave. 

Fermamente  (It.,  far-m5,h-men't6h).  Firmly,  vrith 
decision. 

Fermata  (It.,  far-mah't3,h).  )   A  hold  :  ^;   a  pause 

Fermate  (Ger.,  f4r-mah'te).  1       or  interruption. 

Fermezza,  con  (It.,  kohn  far-met'sah).  In  a  firm, 
decided,  energetic  style. 

Fermo  (It.,  far'moh).  Firm,  decided  ;  fixed,  un- 
changed...  Can^o  fermo,  sameasC.'VNTUS  FlRMUS. 

Feme  (Ger.,  far'ne).  Distance. . .  Wie aus der  Ferne, 
as  from  a  distance.  [stop  of  very  soft  tone. 

FernflSte  (Ger.,  farn'flo'te).  A  covered  8-foot  organ 

Feroce  (It.,   fa-roh'cheh).  \ 

Ferocemente    (fa-roh-cheh-men'teh).       V Wildly, 

Ferocita,    con    (k6hn    fa-roh-che-tah')-  ^ 

fiercely,  vehemently. 
Fervente  (It.,  far-ven'teh).  )  pervently,  ai^ 

Fervore,  con  (It.,  kohn  far-voh'reh).  ' 

dently,  passionately. 
Fes  (Ger.,  fess).     F\,. 
Feses  (Ger.,  fess'ess).    /^double-fiat. 


Festivamsnte — Fine  59 


stivamente  (It.,  f^h-ste-vih-men'tSh).  I  jn  „  ^^v 
stivita,  con  (k6hn  £gh-ste-ve-tahO.         ' 


Festivar 
Fest 

festive  style. 

Festivo  (It.,  f6h-ste'v6h.     j 

Festlich  (Ger.,  fest'liyh).    (-Festive,  festal. 

Festoso  (It.,  f6h-stoh's6h).  ) 

Feuer,  mit(Ger.,mit£ahii'er).  I     with    fire:    fiery, 

Feuerig  (Ger.,  fahii'e-iiyh).       f        impetuous. 

F-holes.  The  2y"-shaped  sound-holes  in  the  belly 
of  the  violin,  etc. 

Fiacco  (It.,  fe-ahk'k6h).     Languishing,  feeble. 

Fiddle.  A  \io\in. .  .Fid Jle-bou\  Fiddlestick^  see  BOW. 

Fieramente    (It.,   fe-eh-rah-men'teh).  f  Wildly, 

Fierezza,  con  (kohn  fe-Sh-ret'sdh).        ), boldly. 

Fiero, -a  (It.,  fe-S'roh,  -r^h).  Wild,  fierce;  bold, 
vigorous. 

Fife.  An  octave  cross-flute  with  6  holes  and  with- 
out keys  ;  compass  d"^  to  (2'-*.— Also,  a  piccolo-stop. 

Fifteenth.  A  double-octave.— Also,  an  organ-stop 
of  2-foot  pitch. 

Fifth.  An  interval  of  5  diatonic  degrees  (see  IN- 
TERVAL).— Also,  the  5th  degree  in  any  diatonic 
scale  ;  the  Dominant.  ..False  Fifths  a  diminished 
1*''^^^-  [Figurations. 

Figural,     Figurate.       Having,     or     consisting     of. 

Figuration.  Rapid  figures  or  phrases,  containing 
passing-  and  changing-notes. 

Figure.  A  distinct  group  of  notes;  a  motive. — 
Also,  a  numeral,  as  used  in  thorough-bass. 

Figured,  i.  Figurate.— 2.  Provided  with  figures, 
as  a  bass. 

Filar  la  voce  (It.,  fe-lar'  ISh  voh'ch6h).  /_ 

Filer  la  voix  (Fr.,  fe-la'  ISh  vw^h').  >"  ^  P""*^  °°^ 
a  tone,  slowly  swelling  and  diminishing. 

Filato  (It.,  fe-lah't6h).      Long  drawn  out. 

Filo  di  voce  (It.,  fe'16h  de  voh'cheh).  The  very 
softest  and  lightest  vocal  tone. 

Finale  (It.,  £e-nah'lSh).  The  last  movement  in  a 
sonata  or  symphony  ;  the  closing  number(s)  of  an 
act  (opera) "or  Part  "(oratorio). 

Fine  (It.,  fe'nSh).  End  ;  close  ;  indicates  either  the 
end  of  a  "repeat"  (after  the  Da  capo  ov  Dal  scgito), 
or  the  end  of  a  piece. 


6o  Fingered  octaves— Flat 

Fingered  octaves.  Octaves  plaj^ed,  on  the  piano, 
with  the  1-5  and  1-4  fingers  alternately. 

Fingering.  1.  The  method  of  applying  the  fingers 
to  the  ke^'s,  holes,  strings,  etc.,  of  musical  instru- 
ments —2.  The  marks  guiding  the  performer  in 
placing  his  fingers..  .£n£'/is/i  Jlfig-erznj^  (ior  the 
piano),  that  in  which  notes  taken  by  the  thumb 
are  marked  x,  with  1234  for  the  fingers... 
German  (or  Continental)  jingeritig,  the  thumb 
marked  i,  and  the  fingers  2345. 

Fino  (It.,  fe'noh).  Till,  up  to,  as  far  as. 

Fioritura  (It.,  fe-6h-re-too'rah).  An  embellish- 
ment; an  ornamental  turn,  flourish,  or  phrase, 
introduced  into  a  melody,    {^\^xr^^.  fioriture^ 

First.  Of  voices  or  instruments  of  the  same  class, 
the  highest  ;  as  ist  soprano,  ist  violin. — In  the 
staff,  the  lowest ;  as  first  line,  first  space.— The 
first  string  of  an  instrument  is  the  highest. 

First.    The  Prime  or  Unison  (interval). 

First-movement  form.    Same  as  Sonata-FORM. 

Fis  (Ger.,  fiss).     FiJ. 

Fisis  (Ger.,  fiss'iss).    i^  double-sharp.  r^Q_ 

Fistel,  Fistelstimme(Ger.  fis'tel-shtim'me).  Falset- 

Fixed  Do.  In  the  fixed-Do  system  of  solmisation 
the  tone  C  and  all  its  chromatic  derivatives  (C^t, 
C?,  6'X,  C??),  are  called  Do,  D  and  its  derivatives 
are  called  Re,  etc.,  in  whatever  key  or  harmony 
they  may  appear. 

Fixed-tone  instrument.  One  (like  the  piano  or 
or^an)  the  pitch  of  whose  tones  cannot  be  modi- 
fied at  the  player's  pleasure,  like  (for  example) 
the  tones  of  the  violin.  Such  an  instrument  is 
said  to  have  "fixed  intonation." 

Flag.  I.  A  hook  (  ^).— 3.  Abbreviation  for  Fla- 
geolet t  (Ger.,  "  flageolet-tone  "). 

Flageolet.  A  small  direct  flute,  a  wind-instrument 
of  the  whistle  family.  The  French  flageolet  has 
a  compass  of  2  octaves  and  3  semitones,  from^i 
to  (?'3?.— Also,  a  small  flute-stop  in  the  organ,  of 
1-  or  2-foot  pitch.  ..Flageolet-tones^  Harmonics. 

Flat.  The  character  K  which  lowers  the  pitch  of 
the  note  before  which  it  is  set  by  a  semitone  ; 
the  Double-flat  ^j?  lowers  its  note  by  2  semitones. 
. .  .Flat  chord,  one  whose  tones  are  performed  si- 
multaneously; a  solid  Q\i<:>T&\  opposed  to  broken. 
...Flat  fifth,  diminished  fifth. 


Flautando— Foot  61 

Flautando  (It.,  fl^h-66-tahn'd6h).  I  ^  direction  ia 

Flautato  (It.,  flah-66-tah't6h).  ) 

violin-music  to  play  near  the  finger-board,  so  as 
to  produce  a  somewhat  •'  fluty  "  tune. 

Flauto  (It.,  flah'oo-toh).     Flute  ;  also  as  the  name 
or   organ-stops,  as  Flauto  amabile^  q\.q.  ..I-luuto 


traverso,  cross-flute. 


[ful. 


Flebile  (It.,  fla'be-leh).     Tearful;  plaintive,  mourn- 

Fliessend  (Ger.,  fle'sent).  Flowing,  smooth  ;  scor- 
f'^"'^o.  [(quadruple  time. 

Fling.     A  Scotch   dance  resembling  the  Reel,  in 

Flor'id.  Embellished  with  runs,  passages,  figures, 
graces,  etc.  [lightly,  airily. 

Fluchtig    (Ger.,    fle/yh'tiyh).       Flightily,   hastily; 

Flue-pipe.     See  Fife. 

Flute.  The  orchestral  flute  {Boehm  flute)  has  a 
wooden  tube  of  cylindrical  bore,  with  14  ventages. 
closed  by  keys;  it  is  blown  through  an  oval  ori- 
fice near  the 'upper  end.  Compass  from  c'  to  c*. 
This  is  the  so-called  Cross-flute,  bemg  held  across 
the  motith  ;  the  Direct  flute  is  blown  from  the 
end,  like  a  whistle. 

Flute-stop.     A  flue-stop  with  flute-tone. 

Flute-work.  In  the  organ,  all  flue-stops  not  be- 
longing to  the  Principal-work  or  Gedackt-vjork. 

Foco  (It.,  fo'koh).     Fire.     (See  FUOCO.) 

Folgend  (Ger.,  fohl'ghent).  "Following";  colla 
j-arte  or  voce. 

Folia  (Span.,  fSh-le'Sh).  I  ^  ^        :,^^  ^ance  for  one 

Follia  (It.,  f6hl-le'ah).      * 
person,  in  slow  tempo  and  3-4  time. 

Folk-song.  A  song  of  the  people,  tinged  by  the 
musical  peculiarities  of  the  nation,  and  usually 
in  simple,  unaffected  ballad-form. 

Follower.    A  Consequent. 

Foot.  I.  A  group  of  syllables  having  one  accent, 
like  a  simple  measure  in  music. — 2.  That  part  of 
an  organ-pipe  below  the  mouth. — 3.  The  unit  of 
measure  in  designating  the  pitch  of  organ-stops, 
and  of  the  several  octaves  in  the  musical  scale. 

An  8-foot  (8')  stop  is  one  whose  longest  ^  

pipe  produces  the  tone  Cand  is  about  w : 

8  feet  in   length,  that  is,  a  stop  whose  'r~. 

pipes  produce  tones  corresponding  in  "^ 

pitch  to  the  keys  touched  ;  a  4-fot)t  (4')  stop  is  an 
octave-stop  ;  a  '16-foot  (ic'>  stop  yields  tones  aa 


62  Footing— Freddezza 

octave  lower  than  indicated  by  the  keys  touched. 
—The  8-foot  octave  embraces  the  tones  from  C 
upwards  (see  Pitch,  absolute). 

Footing.  The  method  of  applying  the  heels  and 
toes  to  the  organ-pedals.  [to  a  given  key. 

Foreign  chords  or  tones  are  such  as  do  not  belong 

Forlana  (It.,  fohr-lah'nah).  f  ^  jj^^^     j^^ji^^  ^^^^^ 

Forlane  (Fr.,  fohr-lahn').      ' 
in  6-S  or  6-4  time. 

Form.  The  melodic  and  rhythmic  shape  and  order 
in  which  a  piece  of  music  is  built  up. 

Fort  (Ger.,  fort).     OfT  (organ-music). 

Forte  (It.,  fohr'teh).  Loud,  strong;  usually  written 
f\  pill  forte,  louder  \  piano  forte  {pf).  begin  softly 
and  swell  rapidly  ;  poco  forte,  rather  loud  ;  forte 
piano  ifp),  accent  strongly,  instantly  diminishing 
to  piano;  fortemente  (for-teh-men'teh),  loudly, 
forcibly;  forte  possibile  (pohs-se'be-leh),  as  loud 
as  possible.  .  ./^c'r/^-j-/^/  (harmonium),  a  slide 
opened  by  a  draw-stop  or  knee-lever,  to  produce 
&  forte  effect... Forte  generate,  the  full-organ 
combination-stop. 

Fortepia'no.     A  pianoforte 

Fortissimo  (It.,  fohr-tis'se-moh).  Extremely  loud 
(usually  written  tf^  or  iff). 

Forza,  con  (It.,  kohn  for'tsah).  With  force,  forcibly. 

Forzandodt.,  fohr-tsahnMoh).  }  ^j^j^  ^^^^ 

Forzato  at.,  fohr-tsah'toh).        > 
means  that  the  note  or  chord  is  to  be  strongly 
accented  ;  usually  written  fz. 

Foundation-stop,     See  STOP. 

Fourniture  (Fr.,  foor-ne-tiir').     Mixture-stop. 

Fourth.  An  interval  embracing  4  degrees.— Also, 
the  4th  degree  in  the  diatonic  scale  ;  the  Sub- 
dominant. 

Fran^aise  (Fr.,  frShn-saz').  A  dance  in  triple  time, 
resembling  the  country-dance. 

Francamente  (It.,  frahn-kSh-men'teh).  Ipreeinde- 

Franchezza,  con  (kohn  frahn-ket'sSh).  ' 
livery  ;  boldly  :  frankly,  ingenuously. 

Frase  larga  (It.,  frah'zeh  lar'gSh).  •'  Broad  phrase;*' 
lar^amente. 

Freddamente    (It.,   fred-dSh-men'tSh).    |     Coldlv  • 

Freddezza,   con  (k6hn  fred-det'sSh).       ' 
coolly,  mdifferently. 


Freddo— Fugue 


Freddo  (It.,  fred'd6h).    Cold  ;  indifferent. 
Free  fugue.     One  written  with  more  or  less  disre- 
gard of  strict  rules.  ^plete  j^g  harmony. 
Free  part.     One  added  to  a  canon  or  fugue  to  corn- 
Free  reed.     See  REED. 

Free  style   (of  composition).      That   in    which   the 
rules  of  strict  counterpoint  are  relaxed. 

Frei  (Ger..  fri).     FreG... Fret  tm  Vortrag,  free  in 

style  (delivery). 

Fremente  (It.,  fra-men'teh).     Furiously. 
French  horn,  Sixth,  Violin-clef.     See  the  nouns. 
Fret.     One  of  the  narrow  ridges  of  wood,  metal,  or 
ivory,  crossing  the  fingerboard  of  the  mandolin, 
guitar,   zither,   etc.,    on    which  the    strings    ar« 
'•  stopped." 
Fretta,  con  (It.,  k6hn  fret'tSh).  » 

Frettolosamente    (fret  -  toh  -  loh  -  sSh  -  men't6h).    v 
Frettoloso  (It.,  fret-toh-loh'soh).  ) 

Hastily,  hurriedly. 
Frisch  (Ger.,  frish).     Brisk,  vigorous  ;  brioso. 
Frog.     Wrong  translation  of  FroscJiy  "  nut." 
FrOhlich  (Ger.,  fro'lTyh).    Gay,  glad,  joyous. 
Frosch  (Ger.,  fr6hsh).     Nut  (of  a  bow). 
Fuga  (Lat.  and  It.,  foo'gS.h).    A  fugue. 
Fuga'ra.    An  organ-stop  having  metal  flue-pipes  of 

8-  or  4-f()Ot  pitch  ;  tone  sharp  and  "  stringy." 
Fugato   (It.,    fo6-gah't6h ;    "in  fugue-style").     A 
passage  or  movement  consisting  of  fugal  imita- 
tions, but  not  worked  out  as  a  regular  fugue. 
Fuge  (Ger..  foo'gS).     Fugue.  [exposition. 

Fughetta  (It.,  foo-get'tSh).  A  short  fugue;  a  fugue- 
Fugue  (fewg).  The  most  highly  developed  form  of 
contrapuntal  imitation,  based  on  the  principle  of 
the  equalitv  of  the  parts,  a  theme  proposed  by 
one  part  being  taken  up  successively  by  all  par- 
ticipating parts,  thus  bringing  each  in  'turn  mto 
special  prominence. — The  elements  essential  to 
every  fugue  are  (i)  the  Subject,  (2)  the  Answer, 
(3)  Countersubject,  (4)  Stretto  ;  to  these  are  com- 
monly added  (t)  Episodes,  (6)  an  Organ-point,  (7) 
a  Coda  — Tn  a  Real  Fu,^ue  the  answer  is  an  exact 
transposition  of  the  subject;  in  a  Tonal  Fiiffue., 
the  subject  is  modified  in  the  answer  in  order  to 
lead  back  to  the  original  key. 


64  Fugued,  Fuguing— Gai 

Fugued,  Fuguing.  Written  like  a  fugue,  either 
strict  or  free. 

Full  anthem,  one  for  chorus  without  soli... J^u/l 
band,  a  military  band,  or  an  orchestra,  having  all 
the  customary  instruments. . .  Full  cadence,  a  per- 
fect cadence.  ..Full  Choir  (Great,  Swell),  draw  ail 
stops  of  Choir  (Great,  Swell)  or^SiW. .  .Full chord, 
a  chord  having  one  or  more  of  its  original  3  or  4. 
tones  doubled  in  the  octave. .  ./■«//  orchestra, 
compare  Full  ■b\^t>...FuII org^an,  with  all  stops 
and  couplers  dva.\vn..  .Full  score,  see  SCORE... 
Full  to  Fifteenth,  draw  all  stops  but  mixtures 
and  reeds. 

Fundamental,  r.  The  root  of  a  chord. — 2.  A  tone 
which  produces  a  series  of  harmonics;  a  generator 
(or  fundamental  bass  [note,  lorml). .  .FundU' 
mental  chord,  triad  isae  Elem.  of  Notation,  p.  x). 
...Fundamental  position,  any  arrangement  of 
chord-notes  in  which  the  root  remains  the  lowest. 

Funebre  (Fr.,  fii-na'br).  ^  Funereal,  mourn, 

Funebre  (It.,  foo-na'breh).  >-     f^i,  dirge-like. 

Funerale  (It,,  foo-neh-rah'leh).  ' 

Fuoco,  con  (It.,  kohn  foo-o'koh).  )  With  fire,  fiery, 

Fuocoso  at.,  f66-6h-koh's6h).        )      spirited. 

Furia,  con  (It.,  kohn  foo're-3,h).  1 

Furibondo  (foo-re-bohn'doh).  ]  Furiously, 

Furiosamente(foo-re-6h-sah-men'teh).  [     wildly. 

Furioso  t.foo-re-oh's6h).  J 

Furiant,  Furie.  A  rapid  Bohemian  dance,  with 
alternating  rhythms  and  changing  accentuation. 

Furlana  (It.,  foor-lah'nah.)     See  FORLAXA. 

Furniture-stop.     A  mixture-stop. 

Furore  (It.,  foo-roh'reh).  Fury,  passion  ;  also,  a 
rage,  mania  (for  anything) . . .  Con  furore,  passion- 
ately. 


G.  The  fifth  tone  and  degree  in  the  typical  diatonic 
scale  of  C  major... G.  stands  for  gauche  in  ni.  g. 
{main  gauche,  left  hand)  ;  G.  O.  (or  simply  Q),  for 
Grand-orgue  (Great  organ). 

Gagliarda  (It.,  gahl-yar'dah).    j.  a  galliard. 

Gagliarde  (Ger.,  gahl-yar'de).  J 

Gai  (Fr.,  ga).     Gay,  lively,  brisk. 


Gaiaraente— Gehaucht  65 

Gaiamente  (It.,  gah-yaii-iuen't6h).  '  Qailv   briskly 

Gaiement  (Fr.,  ga-niahn').  f  i  ■•        ■      > ' 

Gaillarde  (Fr.,  gSh-yardO.     A  gfalliard. 

Gaio,  -a  (It.,  gah'yoh,  -y&h).    Gay. 

Gajo,  etc.     See  Gaio. 

Gala,  di  (It.,  de  gaii'lSh).    Gaily,  merrily. 

Gal'liard.    An  old  French  dance  for  2  dancers,  gay 

and  spirited,  but  not  rapid,  and  in  3-4  time. 
Galop  (Fr.,  gSh-ldh').  I  A  lively  round  dance  in 

Galopp  (Ger.,  gSh-lohpO.  ^     2-4  time. 
Gamba  (It.,  g5.hm'bah).      i.  A  viola  da  gamba. — 

2.  An  organ-stop  similar  in  tone. 
Gamme  (Fr.,  gahm).     A  scale. 
Gam'ut.     I.  The  scale.— 2.  The  staff. 
Ganz  (Ger.,  gihnts^.     i.  Whole  \  ^anze  Note,  whole 

note.— 2.  VQxy\ganz  larigsain^  very  slowly. 
Garbamente  (It.,   gar-bSh-men'teh).  \ 
Garbato  (gar-bah't6h).  V    Gracefully, 

Garbo,   con   (kohn  gar'boh).  ) 

elegantly  ;  in  a  refined  style. 
Gathering-note.     In  chanting,  a  hold   on  the  last 

syllable  of  the  recitation. 
Gauche  (Fr.,  gohsh).     Left. 

Gaudioso  (It.,  gSh-66-de-oh's6h).  Joyous,  jubilant. 
Gavotta  (It.,  gah-v6ht'tah).  ,  ^Gavotjan  oldFrench 
Gavotte  (Fr.,  gah-v6ht'j-      * 

tlance    in   strongly    marked    duple  time(^u//<z 

brevf),  beginning  on  the  auftakt. 
G-clef.     See  Elem.  OF  Not.\TION,  p.  iv. 
Gebunden  (Ger.,  ge-boon'den).     Tied  ;  legato. 
Gedackt  (Ger.,  g6-da,hkt').  Stopped  (of  organ-pipes). 
Gedampft  (Ger.,  gS-dempft').     Damped  ;  muffled  ; 

muted. 
Gedehnt  (Ger.,  g§-dant').     Sustained,   prolonged; 

slow,  stately  ;  largamente:  steso. 
Gefallen,  nach  (Ger.,  ndh  g^-fShKlen).   Ad  libitum. 
Gefailig  (Ger.,  g6-feKlTyh>.     Pleasing,  graceful. 
Gefuhl,  mit  (Ger.,  mit  gS-fu!').  \  With    feeling,  ex- 
Gefuhlvoll  (Ger.,  g6-ful'f6hl).     »'     pressively. 
Gehalten  (Ger.,  g6-hdhKten).     Held,  sustained. 
Gehaucht  (Ger.,  g6-howht').    "Sighed";  very  softly 

and  lightly  sung  or  played. 


66  Gehend— Getragen 

Gehend  (Ger.,  ga'ent).     Andante. 

Geige     (Ger.,     gi'ge).        V\o\\x\.. .  .Geig^enfrinzipal^ 

violin-diapason  (stop). 
Geist  (Ger.,  gist).     Spirit,  soul  ;  essence. 
Gelassen  (Ger.,  ge-lahs'sen).     Calm,  placid,  easy. 
Gelaufig   (Ger.,   ge-lahii'fiyh).     Fluent,  easy...(?rf- 

laufigkeit  (ge-lahii'fiyh-kit),  fluency,  velocity. 
Gemachlich  (Ger.,  ge-infeyh'liyh).     Easy,  comfort- 
able ;  coinodo. 
Gemassigt  (Ger.,  g6-ma'siyht).  Moderate  (in  tempo). 
Gemendo  (It.,  ja-men'd6h).     Moaning. 
Gemessen  (Ger.,  ge-mes'sen).     Measured(]y),  mod- 

erate(,ly);  niodei-ato. 
Gemshorn  (Ger.,  gems'horn).    A  flute-stop  of  8-,  4-, 

or  2-fooc  pitch  on   the  manuals,  and  16'  on  the 

pedal,  with  mellow,  horn-like  tone. 
Gemut(h\  mit  (Ger.,  mit  ge-miit').    With  feeling; 

soulfully. 
'Gemut('h)lich     (Ger.,     ge-miit'llyh).      Easily    and 

cheerily  ;  disinvoltJ:  comodo  (of  tempo;.  [bass. 
Generalbass  (Ger.,  geh-neh-rahl'bahs).  Thorough- 
Generator.     I.  A  root,  or  fundamental  tone. — 2.  A 

tone  which  produces  a  series  of  harmonics. 
Generoso  (It.,  jeh-neh-roh'soh).  Free,  ample. 
Gentile  (It.,  jen-te'leh).  \  j^  a  grace- 

Gentilezza,  con  (kohn  jen-te-let'sah).  r   ful,  refined 
Gentilmente  (It.,  jen-tel-men'teh).        '    style. 
German   flute.      The  •  cross- flute. ..  G^^r^«a«   Sixth, 

see  EX'lKE.ME. 
Ges  (Ger.,  gess).     G\f. 
Gesang  (Ger.,  ge-zahng''')-     Singing,  song;  a  song; 

melody  ;  voice  (vocal  part). 
Gesangreich   (Ger.,  ge-zahng'"riyh).      Very  sing- 

ingly  ;  cantabile. 
Geschleift  (Ger.,  ge-shlift').     Slurred  ;  legato. 
GeschmackvolKGer.,  ge-shmahk'fohl).  Tastefully. 
Geschwindt  (Ger.,  ge-shvint').   Swift(ly),  rapid(ly). 
Geses  (Ger.,  gess'ess).     G  double-flat.  \zato. 

Gesteigert  (Ger.,  ge-shti'gert).   Intensified  ;  rinfor- 
Gestossen     (Ger.,  ge-shtoh'sen).      i.    Staccato.— 2. 

Detache. 
Getragen  (Ger  ,  ge-trah'gen).  Sustained;  sostenufo. 


Gezogen— Gli  67 


Gezogen  (Ger.,  g6-tsoh'gen).     Drawn  out ;  largO' 

ihente^  sostenuto,  steso. 
Ghiribizzoso  (It.,  ge-re-bid-zoh's6h).     Whimsical. 
Giga   <It.,  je'gah).  U  ji 
Gigue  (Fr.,  zhig).   ' 

Giochevole  (It.,  j6h-ka'v6h-l$h).  I  Playfully,  sport- 
Gioco,  con  at.,  kohn  jo'koh).        »'    i^ely,  merrily. 
Giocondo,  -a  (It.,  J6h-k6hn'd6h).  \  j^^  ^  ■ 

Giocondamente  (joh-k6hn-da.h-men't§h).    ) 

cund,  joyous  style. 
Giocosamente  (j6h-k6h-sSh-men'tdh).  /    p.     ^r   ,. 
Giocoso,  -a  (It.,  j6h-koh's6h).  >  '  ' 

sportively,  merrily. 
Gioia,  con  (It.,  kohn  jo'ySh).  1  jo^-fun^,^ 

Gioiante  (It.,  joh-yahn'teh).  j  joyousry', 

Gioiosamente  (j6h-y6h-sah-men'teh).  f  gaily, 
Gioioso  (It.,  joh-y6h's6h).  J  merrily. 

Gioja,  etc.     See  GloiA. 

Gioviale  (It.,  j6h-ve-ah'leh).    Jovial,  cheerful. 
Giovialita,  con  (It.,  kohn  j6h-ve-a.h-le-tah').    Jovi- 
ally, cheerfully. 
Gis  (Ger.,  giss).     Gf^. 
Gisis  (Gen.,  giss'iss).     (j  double-sharp. 
Giubilante  (It.,  joo-be-ia.hn'teh).    Jubilant. 
Giubilazione  (It.,  joo-be-lah-tse-oh'nSh).  j 
Giubilio   (It.,  joo-be-le'6h).  v  Joy,   re- 

Giubilo   (It.,  joo'be-16h).  ) 

joicing,  jubilation. 
Giubiloso, -a  (It.,  joo-be-loh's5h,  -sSh).     Jubilant, 

joyful. 
Giuoco,  etc.     See  GlOCO. 

Giustamente  (It.,    j66 -stSh-men'tSh).      I   gxactV 
Giustezza,  con  (k6hn  joo-stet'sih).  i 

with  precision. 

Giusto  (It.,  jo5'st6h).  Strict,  appropriate,  proper 
^  tempo  j^iiisto),  exact,  correct.  —  Allegro  giusto, 
moderately  fast. 

Glee.  A  secular  composition  for  3  or  more  unac- 
companied solo  voices,  peculiar  to  England. 
Serious  "glees"  are  written  as  well  as  merry  ones. 

Gli  (It.,  I'ye).    The  (masculine  olural). 


GHssando— Grand 


Glissando  (It.,  glis-sahn'd6h").  i.  On  bow-instru- 
ments, (a)  demands  a  flowing,  unaccented  execu- 
tion of  a  passage;  if>)  same  as  Portamento. — 2.  On 
the  piano,  a  rapid  scale-effect  obtained  by  sliding 
the  thumb,  or  thumb  and  one  finger,  over  the 
keys.    Also  Glissato,  Glissicando,  Glissicato. 

Glocke  (Ger.,  gloh'ke).     A  bell. 

Glockenspiel  (Ger.,  gloh'ken-shpel'').  i.  vSee  CA- 
RILLON I.— 2.  A  set  of  bells  or  steel  bars,  tuned 
diatonically  and  struck  with  a  small  hammer. — 3. 
An  organ-stop  having  bells  instead  of  pipes. 

Glottis,  The  aperture  between  the  vocal  cords 
when  they  are  drawn  together  in  singing. 

Gondellied  (Ger.,  gohn'del-let').         j.   ^  Barcarole. 

Gondoliera  (It.,  gohn-doh-le-a'rah).  ' 

Goose.  A  harsh  break  in  the  tone  of  the  clarinet, 
oboe,  or  bassoon. 

Grace.  A  vocal  or  instrumental  ornament  or  em- 
bellishment not  essential  to  the  melody  or  har- 
mony of  a  composition. 

Grace-note.      A    note  of    embellishment,   usually 

written  small. 
Gracile  (It.,  grah'tse-leh).     Graceful,  delicate. 
Gradatamente  (It.,  grah-dah-tah-men'teh).     By  de- 
grees, gradually. 
Gradevole  (It.,  grah-da'voh-leh).  't  Pleasing- 

Gradevolmente  (grah-da-v6hl-men'teh).  t 

ly,  agreeably. 
Gradual,     i.  An  antiphon  following  the  epistle.— 2, 
A  book  of  chantscontaining  the  graduals, introits, 
and  other  antiphons  of  the  R.  C.  Mass. 
Gran  (It.,  grahn).  j 

Grand' (It.,  grahnd).        !- Large,   great,  full,  corn- 
Grande  (It.,  grahn'deh).  ^ 
plete.    {Grande  is  the  regular  form,  used  after 
nouns,  it  is  abbreviated  to  grand'  before  vowels, 
and  to  gran  before  consonants.) 

Grand.    Technical  term  for  Grand  Pianoforte. 

Grand  (Fr..  grahn).  Large,  great:  i-^W..  .Grand 
barre,  a  stop  of  over  3  -noXefi. .  .Grand  bourdon, 
double-bourdon..  Grand  choeur,  full  organ... 
Grand  Jen,  {a)  full  organ;  (b)  an  harmonium-stop 
ioT  iuW  power.  ..A  grand  orc/iestre,  for  full  or- 
chestra...  .Grand-orgue,  {a)  full  organ;  {b)  Great 
organ;  (c)  pipe-organ. 


Grandezza,  con— Guide  6g 

Grandezza,  con  (It.,  k6hn  grahn-det'sSh).       . 
Grandiosity,  con  (kohn  gr5hn-de-6h-se-tah').  -With 
Grandiose  lit.,  KrShn-de-oh'.sSh).  ) 

t4randeuri  majestically,  pompously,  loftily. 
Grandisonante  (It.,  grahn-de-s6h-nahn'tehi.     Loud 

or  long  soundmg,  sonorous;  pompous,  affected. 
Granulate  (It.,  grSh-noo-lah'toh).     Non  legato. 
Grave.     Low  in  pitch;  opposed  to  Acute. 
Grave  (It.,  grah'veh).     i.  Grave  or  low  in  pitch.— 2. 

Heavy,     slow,     ponderous     in     movement.  —  3. 

Serious. 
Gravemente   (It.,   grSh-veh-men'teh).      I     Slowly 
Gravita,  con  (k6hn   grSh-ve-tah').  * 

ponderously;  seriously,  gravely. 
Grazia,   con   (It.,  kohn   grah'tse-ah).  j 

Graziosamente  (grah-tse-6h-sdh-men'teh).   [-Grace- 
Grazioso,  -a  (gr^h-tse-oh'soh,  -sSh).  1 

tuUy,  elegantly. 

Great  octave.     See  Elem.  OF  NOTATION,  p.  v. 

Great  organ.  The  chief  manual  of  an  organ,  and 
tlie  pipes  controlled  by  it. 

Gregorian  Chant.  Plain  Chant,  as  revised  and  es- 
tablished by  Pope  Gregory  I.  (d.  604). 

Grido  (It.,  gre'd6h).    Cry,  shout. 

Grosso  (It..  gr6's6h).    Great,  grand  ;  full,  heavy. 

Grottesco  (It.,  groht-teh'sk6h).    Grotesque,  comic. 

Ground  bass.  A  continually  repeated  bass  phrase 
of  4  or  8  measures  ;  a  dasso  ostinato. 

Group.  I.  A  short  series  of  rapid  notes,  e.specially 
when  sung  to  one  syllable.— 2.  A  section  of  the 
orchestra  (or  score)  embracing  instruments  of 
one  class  ;  e.  g.^  the  strings. 

Gruppetto  (It.,  gr66p-pet't5h).  Formerly,  a  trill ; 
now.  a  turn  ;  also,  any  "  group  "  of  grace-notes. 

Gruppo  (It.,  groop'poh).     Same  as  Gruffetto. 

G-string.  On  the  violin,  the  4th  ;  on  viola  and 
'cello,  3d  :  on  double-bass,  ist. 

Guaracha  (Span.,  gwSh-rah'chah).    Lively  Spanish 

dance,  part  in  3-4  or  3-8,  part  in  2-4  time. 
Guerriero  (It.,  gwSr-re-a'rcjh).     Martial,  warlike. 
Guide.     A  Direct ;  also,  a  subject  or  antecedent. 


70  Guitar — Harmonic 

Guitar,  An  instrument  of  the  lute  family.  The 
modern  Spanish  guitar  has  6  strinjjs,  and  a  com- 
pass of  3  octaves  and  a  Fourth,  from  E  to  a"^.  The 
music  IS  written  an  octave  higher  than  it  sounds, 
in  the  6^-clef . 

Gusto  (It.,  goo'stoh).     Taste. 

Gut  (Ger.,  goot).    Good. 

H 

H.     In  scores,  H.  stands  for  Horn:  in  organ-musir, 

for  Heel;  in  music  for  piano  (organ),  for  Hand 

(r.  //.,  /.  //.). 
H  (Ger.,  hah).    The  note  B. 
Habanera    (Span.,    hah-bah-na'rah).       A    typical 

Cuban  contradance,    comprising  two  8-measure 

periods  in  6-8  time. 
Halb  (Ger.,  hahlp).     Half. 
Half-cadence,  -rest,  -shift,  -step,  -stop,  -tone,   see 

the  nouns. 

Half-note.     The  note  cJ 

Hallelujah  (Hebr.).     "  Praise  ye  the  Lord  !  " 

Hammerclavier  (Ger.,  hahm'mer-klah-ver').  Old 
name  for  the  Pianoforte. 

Hanac'ca.  A  Moravian  dance  in  3-4  time,  like  the 
Polonaise,  but  quicker. 

Handle-piano.  A  mechanical  pianoforte  on  the 
principle  of  the  barrel-organ. 

Hand-note.     Stopped  note  (on  the  horn). 

Hand-organ.     A  portable  barrel-organ. 

Harfe  (Ger.,  har'fe).     Harp. 

Harmonic,  i  {.adjective).  Pertaining  to  chords 
(either  consonant  or  dissonant),  and  to  the  theory 
and  practice  of  harmony. .  .Harmonic  curve,  the 
curved  figure  described'  by  a  vibrating  string. . . 
H.  figuration,  broken  chords.../;'',  fiute,  see 
H.  STOP...//",  mark,  in  music  for  violin,  etc.,  a 
sign  (°)  over  a  note,  calling  for  an  harmonic  tone. 
...H.  note,  see  H.  tone.  .  .H.  reed,  see  H.  STOP. . . 
H.  scale,  (a)  the  succession  of  harmonic  tones ;  {b) 
minor  scale  with  minor  Sixth  and  major  Seventh. 
...H.  stop.  Sin  organ-stop  having  pipes  double  the 
ordinary  leHgth,  and  pierced  midway,  so  that  a 
16-foot  pipe  yields  an  8-foot  tone...//,  tone^  or 
Flageolet-tone,  see  Harmonic  2  {b). 


Harmonic— Harmony 


Harmonic,  ^(nouii).  (a)  One  of  the  series  of  tones 
(the  so-called  partial  toues)  which  usu^illy  accom- 
pany, more  or  less  faintly,  the  prime  tone  K gen- 
erator) produced  by  a  stnnj^,  an  organ-pipe,  the 
human  voice,  etc.  The  prime  tone  {Juiuiamental, 
or  generator)  is  the  strong  tone  produced  by  the 
vibration  of  the  whole  string,  or  the  entire  column 
of  air  in  the  pipe  ;  the  partial  tones  are  produced 
by  the  vibration  of  fractional  parts  of  that  string 
or  air-column,  ib)  These  same  harmonics  (har- 
monic tones)are  obtained,  on  any  stringed  instru- 
ment which  is  stopped  (violin,  zither),  by  lightly 
touching  a  nodal  point  of  a  string. 

Harmon'ica.  A  graduated  set  of  glass  bowls  re- 
volving over  a  trough  filled  with  water,  the 
moistened  glasses  being  played  by  applying  the 
fingers.  Developed  by  Benjamin  Franklin  from 
the  "'musical  glasses,"  and  called  by  him  "Ar- 
monica."  [touched  (not  stopped). 

Harmonic  mark.     The  sign  °  set  over  notes  to  be 

Harmonicon.  i.  A  mouth-harmonica.— 2.  An  or- 
chestrion.— 3.  A  keyed  harmonica  combined  with 
a  flue-.stop  or  stops.  [harmonious. 

Harmonisch  (Ger.,  har-moh'nish).  Harmonic  (tid'/); 

Harmonium.     See  Reed-ORGAN. 

Harmony,  i.  A  musical  combination  of  tones  or 
chords. — 2.  A  chord,  either  consonant  or  dis- 
sonant.— 3.  The  harmonic  texture  of  a  piece  ;  as 
2-part,  3-part  harmony. . .  Chromatic  Jiartnony  has 
chromatic  tones  and  modulations. ..  C/fJ'd'  liar- 
mony  (in  4  part  writing)  has  the  3  highest  parts 
within  the  compass  of  an  ocXa.\Q. .  .Compound 
harmojiv  has  2  or  more  essential  chord-tones 
Aonh\eCi...  Dispersed,  Extended  harmony,  see 
Opex  Vl.k\>.^\o^\ ...Essential  harmony,  (a^  the 
fundamental  triads  of  a  key;  (/')  the  harmonic 
frame  of  a  composition  minus  all  figuration  and 
oxna.m.nxyt'i,... False  harmony,  {a)  the  inharnicnic 
relation  ;  (b)  discord  produced  by  imperfect  prep- 
aration or  resolution  ;  (r)  discord  produced  by 
wrong  notes  or  chords. .  .Figui  ed  harmony  varies 
the  simple  chords  by  figuration  of  all  kinds... 
Open  harmony  (in  4-part  writing)  spreads  the  3 
highest  parts  beyond  the  compass  of  an  octave... 
Pure  harmony,  music  performed  with  pure  u;<>t 
tempered)  intonation,  as  by  a  string-quartet,  or 
unaccompanied  c\\oxyx'S,. .  .Spread  Jiarmony,  open 
Yia.vm<.my ...Strict  harmony,  composition  accord- 
ing   to    strict    rules    for    the    preparation    and 


72  Harp— Hemidemisemiquaver 

resolution  of  d\s,sona.-nce?,...  Tempered  harmony^ 
music  performed  with  tempered  intonation,  as 
on  the  organ  or  piano. 
Harp.  A  stringed  instrument  of  ancient  origin. 
The  modern  orchestral  harp  (Erard's  double- 
action  harp)  has  a  nearly  3-cornered  wooden 
frame,  the  foot  of  which  is  formed  by  an  upright 
fillar  meeting  the  hollow  back  (the  upper  side  of 
which  bears  the  soundboard)  in  the  pedestal:  the 
Tipper  ends  of  pillar  and  back  are  united  by  the 
curving  neck.  The  gut  strings  are  46  (or  47)  in 
number.  Compass,  6J^  octaves,  from  C-^  to  /*> 
(or  ^41,). 

Harp-pedal.     The  soft  pedal. 

Harpsichord.  A  keyboard  stringed  instrument  in 
which  the  strings  were  twanged  by  quills  or  bits 
of  hard  leather.    See  Pianoforte. 

Haupt  (Ger  ,  howpt).  Head;  chief,  principal... 
Hauptmamial,  Great-organ  manual . . .  Haupt- 
pruizipal,  8-foot  diapason  (on  manual),  16-foot  (on 
■pQAa.\)...Hauptsatz,  principal  movement  or 
theme. 

Hautbois  (Fr.,  oh-bwah').     Oboe  or  hautboy. 

Hautboy  (Engl.,  hoh'bojO-     Oboe. 

Havanaise  (Fr.,  ah-vah-naz').     A  Habanera. 

Head.  i.  Point  (of  bow\ — 2.  In  the  violin,  etc.,  the 
part  comprising  peg-box  and  scroll.-— 3.  In  the 
drum,  the  membrane  stretched  over  one  or  both 
ends.— 4.  In  a  note,  the  oval  (or  square)  part 
which  determines  its  place  on  the  staff. 

Head-tones,  Head-voice.  The  vocal  tones  of  the 
head-register.  [passionate. 

Heftig    (Ger..    hef'tiyh).      Vehement,    impetuous, 

Heftigkeit,  mit  (Ger.,  mit  hef'tiyh-kit).  Vehe- 
mently, etc. 

Heimlich  (Ger..  him'liyh).  Secret,  mysterious, 
misterioso  ,-  furtive,  stealthy. 

Heiter  (Ger.,  hl'ter).  Serene;  cheerful,  glad;  gioioso. 

Hel'icon.  A  brass  wind-instrument,  used  chiefly 
in  military  music  as  a  bass ;  its  tube  is  bent  m  a 
circle,  and  it  is  carried  over  the  shoulder. 

Hell  (Ger.,  hel).     Clear,  bright;  limpido. 

Helper.  An  octave-pipe  (organ)  set  beside  and 
sounding  with  another  of  8-foot  pitch,  for  the 
sake  of  brilliancy.  r64th-rest. 

Hemidemisemiquaver.      A    64th-note. .  .i^.-r^i'/,    a 


Herzij?— Horn-band  73 

Herzig(Ger.,har'tsTyh).  Hearty, heartily; tenderly. 

Hes(Ger.,hess).     B\f. 

Heses  (Ger.,  hess'ess).     B  double-flat. 

Hexachord.  The  6  tones  ut  re  }>ti  fa  sol  la  in  Sol* 
misalion. 

Hidden  fifths,  octaves.     See  Oci  AVE. 

His  (Ger.,  hiss).    B  ^. 

Hisis  (Ger.,  hiss'iss).     B  double-.sharp. 

Hohlfl6te  (Ger.,  hohl'flo'te).  In  the  organ,  an  open 
flue-stop  whose  dark,  mellow  tone  is  rather 
hollow  (whence  its  name);  usually  of  8-  or  4-foot 
pitch... The  Hohlquinte  is  a  mutation  stop  in  the 
fifth. 

Hold.  [In  England,  usually  called  Pause.']  The 
sign  ri\  over,  or  vi/  under,  a  note  or  rest,  indicat- 
ing the  prolongation  of  its  time-value  at  the  per- 
former's discretion.— Placed  over  a  bar,  the  hold 
indicates  a  slight  pause  or  breathing-spell  before 
attacking  what  follows. 

Holding-note.     A  note  sustained  in  one  part  while 

the  other  parts  are  in  motion. 

Homophon'ic.  Alike  in  sound  or  pitch.— In  modern 
music,  a  style  in  which  one  melody'  or  part,  sup- 
ported to  a  greater  or  less  extent  by  chords  or 
chordal  combinations  (that  is.  an  dccompajiied 
vielOi.iv').  predominates,  is  called  homophonic;  op- 
posed to  polyp/ionic. 

Homoph'ony.  Homophonic  music;  the  homophonic 
style;  opposed  to  antiphony  and  polyphony. 

Hook.  A  stroke  attached  to  the  stems  of  8th-notes, 
i6th-notes,  etc. 

Horn.  The  orchestral  horn  is  a  brass  wind-instru- 
ment, having  a  conical  tube  variously  bent  upon 
itself  (the  smallest  horn  generally  used,  in  high 
B\>,  has  a  tube  nearly  9  feet  long;  that  an  octave 
lower,  nearly  18  feet);  wide  and  flaring  bell  ;  the 
tone  rich,  mellow  and  sonorous.  The  o\6.Jiatural 
or  French  horn  yields  only  the  natural  tones  sup- 
plemented by  stopped  tones  and  crooks,  giving 
a  total  possible  compass  of  ■>,%  octaves,  from  B^\> 
to  /". — The  modern  Valve-horn,  played  like  a 
cornet,  is  much  easier  to  handle. — The  horn  is  a 
transposing  mstrument. 

Horn-band.  A  band  of  trwrnpetev?,.— Russian  horn- 
band,  a  band  of  performers  on  hunting-horns, 
each  of  which  produces  but  one  tone. 


Horner — Immer 


Horner  (Ger.,  hor'ner).     Horns  {corni). 

Hornpipe.  An  old  English  dance  in  lively  tempo, 
the  earlier  ones  in  3-2  time,  the  later  in  4-4  time. 

Hur'dy-gurdy.  A  stringed  instrument  having  2 
melody-strings,  and  from  2  to  4  drones.  The 
melody-strings  are  "  stopped  "  by  keys  touched 
by  the  left  hand  ;  the  right  hand  turns  a  crank 
which  revolves  a  rosined  wheel,  the  latter  scrap- 
ing the  strings  and  producing  the  rough  musical 
tones. 

Hurtig  (Ger.,  hoor'tiyh).     Swift,  headlong. 

Hydraulic  organ.  A  small  kind  of  organ  invented 
by  Ktesibios  of  Alexandria  (180  B.  C.).  in  which 
the  wind-pressure  was  regulated  b}-  water. 

Hymn.  A  religious  or  sacred  song;  usually,  a 
metrical  poem  to  be  sung  by  a  congregation.— In 
foreign  usage,  a  national  song  of  lofty  character, 
like  the  Marseillaise. 

I 

I  (It.,  e;  masculine  plural).    The. 

lam'bus.  A  metrical  foot  of  2  syllables,  one  short 
and  one  long,  with  the  accent  on  the  long  (^  —). 

I'dyl.  A  composition  of  a  pastoral  or  tenderly 
romantic  character,  without  set  form. 

Idilliodt.,  e-dil'le-6h).  J 

Idylle  (Fr.,  e-dil').         t  An  Idyl. 

Idylle  (Ger.,  e-dil'le).    ) 

II  (It,  el;  masculine  singular).  The...  I  I  piu.  the 
"^'^^'-  [tempo;  a  temfo. 

Im  (Ger.,  im).    In  the...//«  Tetnpo.,  in  the  regular 

Imitando  (It.,  e-me-tahn'doh).     Imitating. 

Imitation.  The  repetition  of  a  motive,  phrase  or 
theme  proposed  by  one  part  (the  antecedent)  in 
another  part  (the  "consequent),  with  or  without 
mod.{ficsit\on. .  .Ca)ionic  imitation,  strict  imita- 
tion.../v-^^  imitation.,  that  in  which  changes  of 
the  antecedent  are  permitted  in  the  consequent. 
. .  .Strict  imitation,  that  in  which  the  consequent 
answers  the  antecedent  note  for  note  and  inter- 
val for  interval. 

Immer  (Ger.,  im'mer).  Always;  continuously... 
Immer  starker  wercieiid,  continually  growing 
louder;  immer  lamrsanter,  slower  and  slower; 
immer  langsatfi,  slowly  throughout. 


Inipaziente— Infino  75 

Impaziente    (It.,   im-pa.h-tse-en't6h).  *  Impatient, 

Impazientemente   (— teh-men't6h).      f  impatiently. 

Imperfect  cadenco,  consonance,  interval,  stop. 
See  the  nouns. 

Imperioso  (It.,  im- peh-re  -  6h's6h).  Imperious, 
hauyhty,  lofty. 

Impeto,    con   (It.,   k6hn  im'peh-toh).  "I 

Impetuosamente    (iin-peh  t66-oh-s3.h-men'tSh).       j 

Impetuosita,   con    (kohn    im-p6h-t66-6h-se-tah').     j' 

Impetuoso    (It.,    im-peh-t66-oh's6h).  J* 

Impetuously,  impetuous,  vehemently. 

Imponente  (It.,  im-p6h-nen'teh).  Imposing,  im- 
pressive. 

Impresario  (It.,  im-prgh-sah're-6h).  The  agent  or 
manager  of  an  opera-  or  concert-company. 

Impromptu.  1.  An  improvisation. —2.  A  composi- 
tion of  loose  and  extemporaneous  form  and  slight 
development ;  a  Fantasia.  [extemporizing. 

Improvisation.      Off-hand   musical   performance  ; 

In  alt,  altissimu        See  ALT,  ALTIS3IMO. 

Incalzando  (It.,  i-kahl-tsShu'doh).  "Pursuing 
hotly:'"  growing,  more  vehement. .  .Inca/zanafo  e 
string-endo,  growing  more  vehement  and  rapid. 

Incidental  music.  Music  supplementary  to  a 
spoken  drama;  such  as  an  overture,  interludes, 
songs,  etc. 

Inciso  (It..  in-che's6h).  Incisive  ;  sharply  marked. 
...Jncise,  "mark  the  notes  sharply." 

Incomplete  stop.     A  half-stop.  [cided. 

Indeciso    (It.,   in-deh-che's6h).      Irresolute,   unde- 

Independent  chord,  harmony,  triad.  One  which  is 
consonant  (contains  no  dissonance),  and  is,  there- 
fore, not  obliged  to  change  to  another  chord  by 
progression  or  resolution. 

Indifferente    (It.,   in-dif-f6h-ren't6h).  \ 

Indifferentemente   (— tSh-men'teh).  -Indif. 

Indifferenza,  con  (k6hn  in-dif-feh-ren'tsdh).  ' 
fcrently,  carelessly. 

Indirect  resolution.     See  RESOLUTION. 

Infernale  (It.,  in-far-nah'leh).     Infernal. 

Infinite  canon.  One  without  a  closing  cadence, 
that  may  be  repeated  at  pleasure. 

Infino  (It.,  in-fe'noh).  Up  to,  as  far  as,  till  you  reach. 


76  Ingenuamente— Intermezzo 

Ingenuamente  (It.,  in-jeh-noo-Sh-men'teh).  Nat- 
urally, ingenuously. 

Inharmonic  relation.     See  FALSE  RELATION. 

Iniziale  (It.,  e-ne-tse-ah'leh).     Initial  ;  the  first. 

Inner  parts.  Parts  in  harmony  lying  between  the 
highest  and  lowest. 

Inner  pedal.     A  pedal-point  on  an  inner  part. 

Innig  (Ger.,  in'niyh).  Heartfelt,  sincere,  fervent, 
intense;  intimo,  con  affetto. 

Innigkeit,  mit  (Ger.,  mit  in'niyh-klt).  »_^^j^j^   ^ 

Inniglich  (Ger.,  in'niyh-liyh).  J 

emotion,  lervently. 

Innocente  (It.,  in-noh-chen'teh).  Innocent,  unaf- 
fected. 

Innocentemente    (It.,   in-noh-chen-teh-men'teh).    | 

Innocenza,  con  (It.,  kohn  in-noh-chen'tsah).  > 
Innocently,  artlessly. 

Inquieto  (It.,  in-kwe-eh'toh).     Unrestful,  uneasy. 

Insensibile  (It,,  in-sen-se'be-leh).     Imperceptible, 

Insensibilmente  (It.,  in-sen-se-bel-men'teh).  In- 
sensibly. 

Insistendo  (It.,  in-se-sten'doh).  \  Urgent- 

Insistenza,  con  (It.,  kohn  in-.se-sten'tsah).  )    !>'• 

Instandig  (Ger.,  in'shten'diyh).  I  tt,- <-   ^^^^„- 

^^     .        ^^    ,  .^s  r  Urgent,  pressmg, 

Instante  (It.,  in-stShn'teh).  ' 

Instantemente  (It.,  in-stahn-teh-men'teh).  Ur- 
gently. 

Instrumentation.  The  theory  and  practice  of  com- 
posing, arranging,  or  adapting  music  for  a  body 
of  instruments  of  different  kinds,  especially  for 
orchestra, 

Intenzionato  (It.,  in-ten-tse-oh-nah'toh),  '-With 

Intenzione,  con  (It.,  kohn  in-ten-tse-oh'neh),  ' 
stress,  emphasis. 

Interlude,  i.  An  intermezzo. — 2.  An  instrumental 
strain  or  passage  connecting  the  lines  or  stanzas 
of  a  hymn,  etc. — 3.  An  instrumental  piece  plaj^ed 
between  certain  portions  of  the  church-service 
Utiteriudiiitn). 

Intermezzo  ( — med'zoh).  i.  A  light  mus.  entertain- 
ment alternating  with  the  acts  of  the  early  Italian 
tragedies. — 2.  Incidental  music  in  modern  dramas. 
—3.    A    short    movement    connecting    the    main 


Interrupted  cadence— Intoning  77 

diviciions  of  a  ^.'vniphony.— 4.  Many  instrumental 
compositions  ta^ke  the  name  Intermezzo  for  want 
of  a  better,  not  bein^j  '"  characteristic  "'  pieces. 
Interrupted  cadence.     See  Cadence. 

Interruzione,  senza  (It.,  sen'tsSh  in-t6r-r6(j-tse-oh'- 

neh).     Without  interruption. 

Interval.  The  difference  in  pitch  between  two 
tones.  Intervals  are  regularly  measured  from 
the  lower  tone  to  the  higher.  An  interval  is : — 
Augmented,  when  wider  by  achromatic  semitone 
than  major  or  pericct. .  .C/i>  oma/Zc,  when  aug- 
mented  or  diminished  (except  augm.  Fourth,  and 
dim.  Fifth  and  Seventh). . .  Covipound,  when  wider 
than  an  ocUwe. .  .Consofiant^  when  not  requiring 
resolution... Z^/a/t7«/c,  when  occurring  between 
2  tones  belonging  to  the  same  key  (except  the  aug- 
mented Second  and  Fifth  of  the  harmonic  minor 
&C'd.\e). .  .Dhninished,  when  a  chromatic  semitone 
narrower  than  major  or  ■peviect..  .Dissonant, 
when  requiring  resolution. .  .EjiJiajjnonic,  see  En- 
H\KyAOyi\C..  .Extended,  or  Extreme,  when  aug- 
mented..  ./•ViZ/,  when  diminished. .  ./y^/-wtJ«/c-, 
when  both  tones  are  sounded  together. .  ./wz/^r- 
fect,  when  diminished. .  ./wf^r/^'a',  when  the 
higher  tone  is  lowered,  or  the  lower  tone  raised, 
by  an  octave. .  .Major,  when  equal  to  the  standard 
Second,  Third,  Sixth  and  Seventh  of  the  major 
Si:a.\e... Melodic,  when  the  two  tones  are  sounded 
in  succession..  .il//'«(7;-,  when  a  chromatic  semi- 
tone narrower  than  major  or  perlect. .  .Ea>  a//tl 
(with  an  interval  preceding),  when  its  two  tones 
progress  in  the  same  direction  and  at  the  same 
interval. .  .Perfect  (or  Perfect  major),  when  equal 
to  the  standard  Prime,  Fourth,  t-  ifth,  and  Octave 
of  the  major  scale..  .Pednndant,  when  aug- 
mented .  ..Simple,  when  not  wider  than  an  octave. 
...Standard,  when  measured  upward  from  the 
'keymAe. .  .Superfluous,  when  augmented. 

Intimissimo  (It.,  in-te-mis'se-m6h).  Very  tenderly, 
warmly. 

Intimo  (It.,  in'te-moh^     Heartfelt,  fervent. 

Intonation.  i.  The  production  of  tone,  either 
vocal  or  instrumental.— 2.  The  method  of  cliant- 
ing  employed  in  Plain  Chant. — 3.  The  opening 
notes  leading  up  to  the  reciting-tcme  of  a  chant. . . 
Fixed  intonation,  see  Fl.XEO- luNE. 

Intoning:.  The  chanting  by  the  minister,  in  mono- 
tone, of  parts  of  the  Anglican  church-service. 


78  Intrepidamente— Italian  Sixth 

Intrepidamente  (It.,  in-tra-pe-dah-men'teh).  {  RqI^. 

Intrepidezza,    con  (kohn  in-tra-pe-det'sah).  ^ 
ly,  daringly,  dashingly.  [bold. 

Intrepido,  -a  (It.,  in-tra'pe-doh,  -dah).      Intrepid, 

Introduction.  A  phrase  or  division  preliminary  to 
and  preparatory  of  a  composition  or  movement. 

Intro'it  (Lat.  introitus,  "entrance  ").  An  antiphon 
sung  while  the  priest  is  approaching  the  altar  to 
celebrate  the  Mass.— In  the  modern  Anglican 
Church,  an  anthem  or  psalm,  sung  as  the  minister 
approaches  the  Communion  table. 

Invention,  A  short  piece  in  free  contrapuntal 
style,  developing  one  motive  in  an  impromptu 
fashion. 

Inversion.  The  transposition  of  the  notes  of  an 
interval  or  chord,  (a)  In  a  simple  interval  the 
higher  note  is  set  an  octave  lower,  or  the  lower 
note  an  octave  higher,  ib)  A  chord  is  inverted 
when  its  lowest  note  is  not  the  root  ;  see  Elem. 
of  Notation,  p.  x.  {c)  In  double  counterpoint,  the 
transposition  of  2  parts,  the  higher  being  set 
below  the  lower,  or  vice  versa  ;  this  inversion 
may  be  by  an  octave  or  some  other  interval,  and 
is  called  "  inversion  in  the  octave,"  "  in  the 
tenth,"  "  in  the  fifth,"  etc.  {d)  An  organ-point  is 
inverted  when  in  some  other  part  than  the 
lowest. 

Ira,  con  (It.,  kohn   e'rah).  I_  Wrathfully,    passion- 

Irato   at.,  e-rah'toh).  *"     ately. 

Irlandais,  -e  (Fr.,  er-lahn-da',  daz').  Hibernian, 
Iri^h. 

Ironia,  con  (It.,  kohn  e-roh-ne'ah).         \  Ironically, 

Ironicamente  (e-roh-ne-kah-men'teh).  ) 

Ironico  (It.,  e-ro'ne-koh).     Ironical. 

Irregular  cadence.     See  CADENCE. 

Irresoluto  (It.,  ir-reh-soh-loo'toh).  Irresolute,  un- 
decided, vacillating. 

Islancio,  con  (It.,  kohn  e-zlahn'choh).  Vehe- 
mently, impetuously,  with  dash. 

Istesso  nt..  e-stes's6h).  ^a.mQ. .  .Uistesso  tempo, 
"  the  same  tempo  "  (or  "  time  ");  signifies  (a)  that 
the  tempo  of  either  the  measure  or  measure-not^ 
remains  the  same  after  a  change  of  time-signa- 
ture  ;  or  ib)  that  a  movement  previously  inter- 
rupted is  to  be  resumed. 

Italian  Sixth.     See  Extreme. 


Jack — Kammer  79 


Jack.  T.  In  the  harpsichord  and  clavichord,  an 
upright  slip  of  wood  on  the  rear  end  of  the  key- 
lever,  carrying  (in  the  formeria  bit  of  crow-qufll 
or  hard  leather  set  at  a  right  angle  so  as  to  pluck 
or  twang  the  string,  or  (in  the  latter)  a  metallic 
tangent.— 2.  In  the  pianoforte,  the  escapement- 
lever,  or  hopper. 

Jagdhorn  (Ger.,  ySht'horn).     Hunting-horn. 

Jagdstuck  (Ger.,  y5.ht'sht«k).     Hunting-piece. 

Jagerchor  (Ger.,  ya'ger-kohr').     Hunters'  chorus^. 

Jaleo  (vSpan.,  hah-la'oh).  A  Spanish  dance  for  one 
performer,  in  3-8  time  and  moderate  tempo. 

Jan'izary  music.  Shrill  and  noisy  military  music, 
with  drums,  cymbals,  etc.,  predominating. 

Janko  keyboard.  A  piano-keyboard  invented  by 
Paul  von  Janko  of  Totis,  Hungary,  in  1882  ;  it 
has  6  rows  of  keys  so  arranged  that  any  given 
tone  can  be  struck  in  3  different  places,  that  is, 
on  every  other  row. 

Jeu  (Fr..  zho).  i.  Style  of  playing.— 2.  A  stop  of 
an  organ,  etc.  ..Grand  jeii.,  or  Flein  jeu^  full 
organ,  full  ^povfer ...  Demt'-jeu,  half-power. 

Jew's-harp.  A  small  instrument  with  rigid  iron 
frame,  having  a  thin  vibratile  metal  tongue  ; 
the  frame  is  held  between  the  teeth,  and  the 
metallic  tongue  plucked  with  the  finger. 

Jig.  A  kind  of  country-dance,  with  many  modifi- 
cations of  step  and  gesture,  in  triple  or  com- 
pound time,  and  rapid  tempo.— In  the  Suite,  the 
Giffiie  is  usuallv  the  last  movement. 

Jodler  (Ger.,  yohd'ler).  A  song  of  the  Alps  char- 
acterized bv  the  frequent  alternation  of  falsetto 
tones  with  chest-tones  ;  a  yodel,  or  warble. 

Jota  (Span.,  hoh'tSh).  A  national  dance  of  north- 
ern Spain,  danced  by  couples,  in  triple  time  and 
rapid  movement,  something  like  a  waltz. 

Tust  intonation.  Singing  or  playing  music  pre- 
cisely true  to  pitch;  opposed  to  tempered  intona- 
tion. 

K 

Kammer  (Ger.,  kShm'merV  "  Chamber  ";  "  court  "; 
A'(7wwfrwMi'//t.  chamber-music  ;A't^ww/f/v//w.f/^vr, 
court  musician,  A'amifier-kantafe,  c\\a.mheT-ca.x\.- 
tata. 


8o  Kantate — Key-bug^le 

Kantate  (Ger.,  kahn-tah'te).    Cantata. 

Kapelle  (Ger.,  kah-pel'le).  i.  A  private  band  or 
choir. — 2.  An  orchestra. 

Kapellmeister  (Ger.,  kah-pel'mi'ster).  i.  Con- 
ductor of  an  orchestra. — 2.  Choirmaster. 

Kavatine  (Ger.,  kah-vah-te'n§).    Cavatina. 

Keck  (Ger.,  kek).     Bold,  confident ;  pert. 

Keckheit,  mit  (Ger.,  mit  kek'hit).  Boldly,  con- 
fidently. 

Kerau'lophon.  An  8-foot  partial  fliie-stop,  having 
metal  pipes  surmounted  by  adjustable  rings,  and 
with  a  hole  bored  near  the  top  of  each  pipe. 
Tone  soft  and  "reedy." 

Kettledrum.  An  orchestral  drum  consisting  of  a 
hollow  brass  or  copper  hemisphere  (the  kettle) 
resting  on  a  tripod,  with  a  head  of  vellum 
stretched  by  means  of  an  iron  ring  and  tightened 
by  a  set  of  screws,  or  by  cords  and  braces.  It  is 
generally  played  in  pairs,  the  larger  drum  yield- 
ing any  tone  from  Pto  c  and  the  smaller  from 
B\}\.o  f.    Music  now  written  at  actual  pitch. 

Key  (i).  The  series  of  tones  forming  any  given 
major  or  minor  scale,  considered  with  reference 
to  their  harmonic  relations,  particularly  the  rela- 
tion of  the  other  tones  to  the  tonic  or  keynote. . . 
Attendant  keys,  see  ATTF.y^DA'Sl ..  .Cfiroviatic 
key,  one  having  sharps  or  flats  in  the  signature. 
...Extreme  key,  a  remote  'kQj ..  .Major  key,  onQ 
having  a  major  Third  and  Sixth. .  .J/z>?(?r  ke\\ 
one  having  a  minor  Third  and  ^xnXh..  .Natia-al 
key,  one  with  neither  sharps  nor  flats  in  the 
signature. .  .Parallel  key.  (a)  a  minor  key  with  the 
same  kevnote  as  the  given  major  kev,  or  vice 
versa;  (p)  a.  Relative  key  (see  Relativej....^^- 
mote  key,  an  indirectly  related  key. 

Key  (2).  {a\  A  digital  or  finger-lever  in  the  key- 
board of  a  piano  or  organ. — ib)  A  pedal  or  foot- 
key  in  the  organ  or  pedal-piano. 

Key  (3).  A  flat  padded  disk  attached  to  a  lever 
worked  by  the  finger  or  thumb,  closing  the  sound- 
holes  of  various  wnnd-instruments. 

Key  (4).    A  wrest,  or  tuning-key. 

Key-action.  In  the  keyboard  of  a  piano  or  organ, 
the  keys  and  the  entire  mechanism  connected 
with  and  set  in  action  by  them. 

Keyboard.  The  range  of  keys  on  an  organ  or  piano. 

Key-bugle.     See  BUGLE. 


Key-chord— Kraftig-  8x 

Key-chord.     The  tonic  triad. 

Key-harp.  An  instrument  formed  like  a  piano, 
but  havini^  tuning-forks  in  lieu  of  strings.  In- 
vented 1819  by  Dieiz  and  Second. 

Keynote.     The  first  note  of  a  key  or  scale. 

Key-signature.  The  sharps  or  flats  at  the  head  of 
the  staff. 

Key-stop.  A  key  attached  to  the  fingerboard  of  a 
vionn  so  as  to  replace  the  fingers  in  stopping  the 
str-ngs  ;  the  instrument  is  then  called  a  key-stop 
or  keyed-stop  violin. 

Key-tone.     The  keynote. 

Key-trumpet.     A  trumpet  provided  with  keys. 

Kindlich  (Ger.,  kint'liyh).     Childlike,  artless. 

Kit.  Ths  small  violin  used  by  dancing-masters, 
about  16  inches  long,  and  tuned  c^-g^-cf^. 

Klagend  (Ger.,  klah'ghent).  Mournfully,  plain- 
tively. 

Klappe  (Ger.,  klahp'pe).  A  key  {■^...Klappenhorn^ 
key-bugle. 

Klarinette  (Ger.,  klah-re-net'tS).     Clarinet. 

Klavier  (Ger.,  klah-ver').  i.  A  keyboard.— -2.  A 
keyboard  stringed  instrument;  in  the  i8th  cen- 
tury, a  clavichord;  now,  a  pianoforteof  any  kind. 

Klavierauszug  (,Ger.,  klSh-ver'ows'tsooh).  Piano- 
arrangement. 

Klaviermassig  (Ger.,  kl3,h-ver'ma'siyh).  Suitable 
for  the  piano;  in  piano-style.  [stop). 

Kleingedackt  (Ger.,  klin'ge-dihkt').    Flute  (organ- 

Knee-stop.  A  knee-lever  under  the  manual  of  the 
reed-organ.  There  are  3,  used  {,a)  to  control  the 
wind-supply,  Kb)  to  open  and  shut  the  swell-box, 
{O  to  draw  all  the  stops. 

Kokett  (Ger.,  koh-ket').    Coquettish(ly).  [cert. 

Konzert  (Ger.,  kohn-tsart').     i.    Concerto.— 2.  Con- 

Konzertmeister  (Ger.,  k6hn-tsart'mi'ster).  Leader, 
first  violin. 

Konzertstuck  (Ger.,  kShn-tsart'sht/Vk).  i.  A  con- 
cert-piece.—2.  A  short  concerto  in  i  movement 
and  tree  form. 

Koppel  (Ger.,  k6hp'pel).  Coupler... A'<:>//^/«'^.  off 
coupler...  A'f /A'/ (/;/,  draw  coupler,  couple. 

Kraft,  mit  (Ger.,  mit  krihft).  (  Forceful,  vigorous, 

Kraftig  (Ger.,  kref'iTyh).  >'  energetic;  con  forza. 


Krakow  i  ak— Langfsam 


Krakowiak.     A  Cracovienne. 

Kriegerisch  (Ger.,  kre'ge-rish).     Martial,  warlike. 

Krummhorn  (Ger.,  kroom'horn).  An  obsolete  wood 

wind-instrument  with  double-reed.     Hence,  an 

organ-stop  of  similar  tone  (mournful). 
Kurz  (Ger..  koorts).     Short. .  .A^wr^  und  bestimmt, 

short  and  decided. 
Kyrie  (Greek,  ku're-eh).     "  Lord  ";  the  first  word 

in  the  opening  division  of  the  Mass. 


L.    Stands  for  left  (or  li?iks,  Ger.)  in  the  direction 

/.  //.  (left  hand). 
La.     I.  The  6th  Aretinian  syllable.— 2.  The  note  A 

in  French  and  Italian.— 3.  (It.,  lah).    The. 
Lage  (Ger.,  lah'ge).     Position  (of  a  chord) ;  posi- 
tion, shift  (in  violin-plajnng). . .  Ettffe  (weite)  Lage^ 

close  (open)  position  or  harmony. 
Lagrimando    (It.,    lah-gre-mahn'doh.      Complain- 

ingly,  plaintively. 
Lagrime,  con  (It.,  kohn  lah'gre-meh).  ^  ii^gg^j.£^p» 
Lagrimoso  (lah-gre-moh'soh).  ^ 

plaintive,  like  a  lament. 
Lah  stands  for  La  in  Tonic  Sol-fa. 
Lamentabile  (It.,  lah-men-tah'be-leh).       { 
Lamentabilmente  (— tah-bel-men'teh).       | 
Lamentando  (It.,  — tahn'doh).  I  Lament- 

Lamentevole  (It.,  — ta'voh-leh).  j 

Lamentevolmente  ( — teh-vohl-men'teh). 
Lamentoso  (It.,  — toh'soh).  J 

ingly,  plaintively,  mournfully. 

Lamentazione   (It.,  lah-men-tah-tse-oh'neh).    \       * 
Lamento  (It.,  lah-men'toh).  ' 

lament,  complaint. 

Landler  (Ger..  lent'ler).  A  slow  waltz  of  South 
Germany  and  the  Tyrol  (whence  the  French 
name  Tyroliemie\  in  3-4  or  3-8  time,and  the  rhythm 

^—. .    -.H-— -^ 

4  I     I     u    i  '  I     '     u    ^ 

Langsam  (Ger..  lahng^'zahm).  S\o^ . . . Langsamer 
(lahng'"zah-mer),  slower. 


Languendo— Leading 


Languendo   (It.,   Idhn-gwen'doh).    )    Languishing, 

Languente   (It.,  lAhn-^'wen'tC-h).       *       plaintive. 

Languidamentr,    (It.,   lahn-gwe-dih-men'tfih).    \ 

Languido   (It  ,  lihn'gwu-d5h).  V 

Languore,  '.on  (It.,  kohn  Idhn-go'rSh).  ' 

Langui<^h',  lanv^uisliinKlv- 

Largan-.ente  (It.,  lar -gali  -  men '  tSh).  Largely, 
br<adly  ;  in  a  manner  cliaracterized  by  a  vigor- 
ous and  su.stained  tone  and  general  breadth  oC 
style,  without  change  of  tempo. 

Largando  (It.,  lar-g^hn'doh).  "Growing  broader", 
that  is,  slower  and  tnore  marked  ;  generally  a 
crescendo  is  implied. 

Large.     A  Plain-chant  note  equal  to  2  (or  3)  J'^ings. 

Larghetto  (It.,  lar-get'toh).  The  dinnn'Jtive  of 
Laiffo^  and  demands  a  somewhat  more  rapid 
tempo,  nearly  Atuiatitino. 

Larghezza,  con  (It.,  k6hn  lar-get's^h).  Same  as 
Largameute. 

Largo  (It.,  lar'goh).  Large,  broad  ;  the  slowest 
tempo-mark,  calling  for  a  rlow  and  stately  move- 
ment with  ample  breadth  of  style. . .  l^rgo  assiif, 
very  slowly  and  broa'Jly  (a'.so  Largo  di  niolto, 
Molio  iargo,  or  Larghissnno)..  .Foco  iargo,  "with 
some  breadth "  ;  can  ojcur  even  during  an 
Allegro. 

Larigot  (Fr.,  ISh-re  g6h').  Originally,  a  kind  of 
flageolet  ;now,  an  organ-stop  of  ij^j-foot  pitch. 

Lauda  (Latin).  A  laud  (hymn  or  song  of  praise)... 
Laiides,  lauds  ;  together  with  matins,  the  first  of 
the  7  Canonical  Hours. 

T-aunig  (Ger.,  low'niyh).  i.  With  light,  gay  humor. 
—2.  With  facile,  characteristic  expression. 

Laute  (Ger.,  low'tS).    Lute. 

Lay.    A  melody  or  tune. 

Ledt.,  la;  Fr.,  lu).     The. 

Lead.  i.  The  giving-out  or  proposition  of  a  theme 
by  one  part.— 2.  A  cue. 

Leader,  i.  Conductor,  director.— 2.  In  the  or- 
chestra, the  ist  violin  ;  in  a  band,  the  1st  cornet  ; 
in  a  mixed  chorus,  the  ist  soprano.— 3.  An  ante- 
cedent. 

Leading.  1  (noun).  The  melodic  progression  or 
conduct  of  any  part.— 2  (adjective).  Principal, 
chief;  guiding,    d'xTttcVm^. .  .Leading-cliord,    the 


84  Leaning-note— Leger-line 

dominant  seventh-chord . .  .Leading  melody,  prin. 
cipal  melody  or  theme... Leading-motive,  see 
'Le.ITUOTIV ..  .Leading-note,  -tone,  the  7th  degree 
of  the  major  and  harmonic  minor  scales. 

Leaning-note.     Appoggiatura. 

Leap.  I.  In  piano-playing,  a  spring  from  one  note 
or  chord  to  another. — 2    In  harmony,  a  skip. 

Lebendig  (Ger.,  leh-benMiyh).  I  Lively,  animated. 

Lebhaft  (Ger.,  lab'hahft).  J 

. .  .Lebhaft,  aber  nicht  zu  sehr,  livel}',  but  not  too 
much  so. 

Lebhaftigkeit  (Ger.,  lab'hahf-tiyh-kit).  Animation; 
fnit  Lebhaftigkeit  utid  durchaus  mit  Empfindung 
und  Ausdruck,  with  animation,  and  with  feeling 
and  expression  throughout. 

£«edger-line.     A  Leger-line. 

Legando  (It.,  leh-gahn'doh).  "  Binding."  i.  Lega- 
to.— 2.  An  expression-mark  calling  for  the  smooth 
execution  of  two  or  more  consecutive  tones  by 
a  single  "stroke  of  the  glottis "  (vocal),  in  one 
bow  (violin,  etc.),  by  a  single  stroke  of  the  tongue 
(wind-instruments),  or  legatissimo  (on  organ  or 
piano. 

Legate  (It.,  leh-gah'teh).  Slurred;  played  or  sung 
smoothly  and  evenly. 

Legatissimo  (It.,  leh  -  gah  -  tis '  se-moh).  Very 
smoothly  and  evenly.  On  the  piano,  in  passages 
marked  legatissimo,  eo-e^a.  finger  is  to  hold  its  note 
as  long  as  possible. 

Legato  (It.,  leh-gah'toh).  Bound,  slurred;  a  direc-' 
tion  to  perform  the  passage  in  a  smooth  and  con* 
nected  manner,  with  no  break  betwr-en  the  tones; 
also  indicated  by  the  "  legato-mark,"  a  curving 
line  under  or  over  notes  to  be  so  executed. 

Legend  (le-  or  lej'end).  \ 

Legende    (Ger.,  leh-gen'de).  -A    vocal    or    instru- 

Legende  (Fr.,  la-zhahnd').      ' 
mental    composition   depicting  the  course  of    a 
short  tale  of  legendary  character. 

Legendenton,  im  (Ger.,  im  leh-gen'den-tohn).  In 
the  tone  (style)  of  a  legend. 

Leger-line.  A  short  line  used  for  writing  notes 
which  lie  above  or  below  the  staff. .  .Leger-space^ 
a  space  bounded  on  either  side  or  both  sides  by 
a  leger-line.  (Pronounced,  and  often  written^ 
Led' ger.) 


L«eg-j3reramente— Licenza  85 

Leggeramente  (It.,  led-jeh-rah-men't^h).  j 
Leggerezza,  con  (k6hn  led-jeh-ret'sSh).     /[^rfsklv 
Leggermente  (It.,  led-jar-men'teh).  ' 

Leggero  (It.,  led-ja'roh).     Light,  airy. 
Leggiadramente  (It.,  led-jah-drih-men'tSh).  Neat* 

ly.  ele;<antly,  gracefully.  [gracefuU 

Leggiadro    (It.,    led  -  jah '  dr6h).      Neat,    elegant, 
Leggiero,  etc.  (It.,  led-ja'roh).     See  Leggeko. 
Legno,  col  (It.,  k5hl  lan'yOh).     "With  the  stick"; 

let  the  stick  of  the  bow  fall  on  the  strings. 
Leicht  (Ger.,  liyht).     Light,  brisk;  easy,  facile... 

Leicht  bewegt,  lightly  and  swiftly ;  with  slight 

agitation. 
Leichtlich  fGer.,  liyht'lTyh').    X^ightly,  easily. 
Leidenschaft,  mit  (Ger.,  mit  ll'den-shiihft).  I  with 
Leidenschaftlich  (Ger.,  li'den-shahft'liyh).    ' 

pu.ssion,  pa.ssionately. 
LeidvoU  (Ger.,  lit'fdhl).     Sorrowful,  mournful. 
Leise  (Ger.,  li'ze).     Low,  soft ;  piano,     [and  softer. 
Leiser  (Ger.,  li'zer).     Softer  ;  immer  leiser,  softer 
Leitmotiv   (Ger.,    Ilt'm6h-tef').      Leading-motive; 

any    striking    musical    motive    (theme,    phrase) 

characterizing  or  accompanying  one  of  the  actors 

in  a  drama,  or  some  particular  idea,  emotion,  or 

situation  in  the  latter.  [quietlv. 

Lenezza,  con  (It.,  k6hnleh-net's5.h).  Faintly,  gently, 
Leno  (It.,  la'noh).     Faint,  gentle,  quiet. 
Lentamente  (It.,  Ien-t5h-men't6h).     Slowly. 
Lentando  (It.,  len-tShn'doh).     Growing  slower. 
Lentezza,  con  (It.,  k5hn  len-tet'sSh).    Slowly. 
Lento  (It.,  len'tuh).     Slow;  calls  for  a  tempo  be- 
tween  andante  and  la rg-o... Adagio   non   lento^ 

slowly,  but  not  drag.ging. 
Lesser,  i.  Minor. — 2.  ^\\ot\.,2.% Lesser appoggiaturcu 
Lesto  (It.,  Ia'st6h).    Gay,  lively,  bri.sk. 
Liberamente    (It.,    le-bSh-rah-men't^h).      Freely, 

boldly. 
Libretto  (It.,  le-bret't<')h).    A  "booklet"  ; the  words 

of  an  opera,  oratorio,  etc.    The  authui  is  called 

a  librettist  (It.  librettt'sta). 
Licenza    (It.,    le-chen'tsih).      Freedom,   license... 

Con   alcuna  licenza^   with  a  certain  (degree  oO 

freedom. 


Lieblich— Lustig' 


Lieblich  (Ger.,  lep'liyh).   Lovely,  sweet,  charming. 

Lied  (Ger.,  let).    Song. 

Lig'ature.    i.  A  tie  ;  a  syncopation. — 2.  A  group  or 

series  of  notes  to  be  executed  in  one  breath,  to 

one  syllable,  or  as  a  legato  phrase.  [distinctly. 
Limpido  (It.,  lim'pe-doh).  "Limpid'  ;  clearly, 
Lip.     I.    The  upper  and  lower  lips  of  a  flue-pipe 

are  the  flat  surfaces  above  and  below  the  mouth. 

—2.  Lipping;  that  is,  the  art  of  so  adjusting  the 

lips  to  the  mouthpiece  of  a  wind-instrument  as  to 

get  a  good  tone. 
Liscio  (It.,  le'shoh).    Smooth,  flowing. 
L'istesso  (It.,  Ie-stes's6h).     The  same. 
Lit'any.    A  song  of  supplication,  priests  and  choir 

alternating. 
Liuto  (It.,  le-oo'toh).     A  lute. 
Lo(It.,loh).     The. 
Loco  (It.,   lo'koh).       '-Place";    following   Sva   it 

means,  "perform  the  notes  as  written." 
Long.     A  Plain-Chant  note  equal  to  2  (or  3)  breves. 
Lontananza,  in  (It.,  in  lohn-tah-nahn'tsah).     At  a 

distance.  [away. 

Lontanissimo  (It.,  lohn-tah-nis'se-moh).    Very  far 
Lontano  (It.,  lohn-tah'noh).     Far  away...Z?a  Ion- 

iano,  from  a  distance. 
Loud  pedal.     The  pianoforte-pedal  which  lifts  the 

dampers;  the  right  pedal. 
Loure  (Fr.,  loor).     A  dance  in  6-4  or  3-4  time  and 

slow  tempo,  the  down-beat  strongly  marked. 
Luftig  (Ger.,  loof'tiyh).     Airy,  light 
Lugubredt.,  166-goo'breh).     Mournful. 
Lunga  (It.,  loon'gah).  Long  ;  sustained,  prolonged. 

Written  over  or   under  a  hold  (t)  it  means  that 

the  pause  is  to  be  decidedly  prolonged;  often 

written  Paicsa  lunga,  long  pause. 
Lunghe  (It.,166n'geh.  VlnvaX  oilunga).  Prolonged. 
Lusingando  (It.,  loo-zin-gahn'doh).  "1 

Lusingante  (It.,  — gahn'teh). 

Lusinghevole  (It.,  — ga'voh-leh).  \  Coax- 

Lusinghevolmente    (— geh-vohl-men'teh).    | 
Lusinghiero  (It..  — ge-a'r6h\  J 

ingly,  caressingly,  flatteringly,  seductively. 
Lustig  (Ger.,  loos'tiyh).     Merry,  merrily. 


Lute— Maestosamente  87 

Lute.  An  ancient  stringed  instrument,  mandolin- 
shaped  (like  half  a  pear),  with  6  to  13  strings 
strung  pairwise  over  the  fretted  fingerboard,  and 
bass  strings  off  the  fingerboard  attached  to  a 
second  neck.  Formerly  popular,  but  now  ob- 
solete. 

Luttosamente  (It.,  166t-t6h-sah-men'tSh).  )  ^jQuj-n- 

Luttuosamente  (166t-t66-6h-s^h-men'tSh).  ) 
fully,  plaintively. 

Luttoso  (It.,  166t-toh's6h).  )  Mournful,  doleful, 

Luttuoso  (16ot-t66-oh's6h).         ^     plaintive. 

Lyre.  i.  An  ancient  Greek  stringed  instrument, 
the  body  being  a  soundboard,  from  which  rose 
2  curving  arms  joined  above  by  a  cross-bar  ;  the 
strings,  from  3  to  10  in  number,  were  stretched 
from  this  cross-bar  to  or  over  a  bridge  set  on  the 
soundboard,  and  were  plucked  with  a  plectrum. 
—2.  The  lyre  of  military  bands  consists  of  loosely 
suspended  steel  bars'  tuned  to  the  scale  and 
struck  with  a  hammer. 

Lyric,  lyrical.  Pertaining  to  or  proper  for  the 
lyre,  or  for  accompaniment  on  (by)  the  lyre; 
hence,  adapted  for  singing,  or  for  expression  in 
song;  opposed  to  epic  ina.rra.tive)  and  d/-a/na^ic 
(scenic,  accompanied  hy  action). .  .Lyric  dratfia, 
the  opera.. .  .Lyric  opera,  one  in  which  the  lyric 
form  predominates. .  .Z-y/'/'f  stage.,  the  operatic 
stage. 

M 

M.  Stands  for  It.  mano  or  Fr.  main  (hand);  for 
Manual  (organ);  and  for  Metronome  (usually 
M.  M.). 

Ma  (It.,  mSh).  But ...  A/iegro  ma  non  troppo,  rap- 
idly,  but  not  too  fast. 

Madrigal.  A  short  lyric  poem  ;  also,  a  vocal  setting 
of  such  a  poem,  in'from  3  to  8  parts,  contrapuntal, 
and  usually  for  unaccompanied  chorus;  there 
are  also  madrigals  in  simple  harmony,  in  dance- 
rhythms,  etc..  or  accompanied  by  instruments. 

Maesta,  con  (It.,  k6hn  mSh-^-stah').  ~j 

Maestade,  con  (It.,  k6hn  mfth-6-stah'd§h). 

Maestevole  fit.,  mah-6-sta'v6h-leh).  j-    With 

Macstevolmente  (— sta  yohl-men'tSh). 

Maestosamente  ( — st6h-sAh-men'ttih).  J 

majesty,  with  dignity,  majestically. 


Maestoso— Marcato 


Maestoso  (It.,  mah-e-stoh'soh).  Majestic,  digni- 
fied ;  in  a  stj'le  characterized  by  lofty  breadth. 

Maestro  (It.,  mah-eh'stroh).  Master... Maes/ro  di 
cappel/a,  choirmaster;  conductor. 

Main  (Fr.,  man).  Hand...J/a/«  droite  {gauche), 
right  Ueft)  hand  ;  often  written  vi.  d.,  ni.  g. 

Maitre  (Fr.,  ma'tr).  MslsIqv .. .Maztre  de  chapelle^ 
choirmaster ;  conductor. 

Majestatisch  (Ger.,  mah-yes-ta'tish).     Maestoso. 

Major.  "Greater":  opposed  to  minor,  "lesser." 
See  Interval.  .  .Major  cadence,  one  closing  on  a 
major  triad... il/.  chord  or  triad,  one  having  a 
major  Third  and  perfect  Fifth... iJ/^E/i^r  interval, 
key,  7node,  scale,  see  the  nouns. 

Malinconia,  con  (It.,  kohn  mah-lin-koh-ne'ah).       \ 

Malinconicamente  (mah-lin-koh-ne-kah-men'teh).  i 
With  melancholy  expression  ;  dejectedly. 

Malinconico  (It.,  mah-lin-ko'ne-koh).  Melancholy, 
dejected.    (Also  Malinconioso,  Maliiiconoso.) 

Mancando    (It..   mShn-kahn'doh).     Decreasing    in 

loudness,  dying  away, 

Mandola  (It.,  mahn-do'lah).    A  large  mandolin. 

Man'dolin(e").  A  small  kind  of  lute,  the  body 
shaped  like  half  a  pear  ;  with  wire  strings  tuned 
pairwise,  played  with  a  plectrum  and  stopped 
on  a  fingerboard. 

Mandolinata  (It.,  mahn-doh-le-nah'tah).  i.  A 
mandolin-piece  of  quiet  character,  like  a  sere- 
nade.—2.  A  direction  in  piano-playing  to  play 
with  a  mandolin-effect. 

Mandoline  (It.,  mahn-doh-le'noh).     A  mandolin. 

Mandora,  Mandore.     Same  as  Mandola. 

Maniera  (It.,  mS.h-ne-a'rah).  Manner,  style,  meth- 
od... CV?«  dolce  maniera.,    in    a    suUve,    delicate 

style. 

Mano   (It.,  mah'noh).    'iia.-ndi...Mano  destra  {sini-^ 

stra),  right  (left)  hand. 
Manual.     An  organ  keyboard  ;  opposed  to  pedal. 
Manua'liter  (Lat.)     On  the  manual(s)  alone. 
Marcando  (It.,  mar-kahn'doh,  "marking"). 
Marcate  (It.,  mar-kah'teh,  "  marked,"  "  mark  ! 
Marcato,  -a  (It.,  mar-kah'toh,  -tSh,  "marked"). 

With  distinctness  and  emphasis. 


::::( 


i      march-style. 


Marcatissimo— Measurable  music  89 

Marcatissimo  (It.,  mar-kah-tis'se-m5h).  With  very 
marked  emphasis. 

March.  A  composition  of  strong^ly  marked  rhythm, 
suitable  for  timing^  the  steps  of  a  body  of  persons 
proceeding  at  a  walkinj^  pa.cti.~Marc/i-/orfn  is  in 
4-4  time,  with  reprises  of  4,  8.  or  16  measures,  fol- 
lowed by  a  Trio,  and  ending  with  a  repetition  of 
the  march. 

Marche  (Fr.,  marsh).     )  ,,  .       . 

,-       .     ,,.  .  ,  v.,   '  March.  ,.^//a    ?narcza,    in 

Marcia  (It.,  mar'chSh).  -  ' 

Marsch  (Ger.,  marsh). 

Martellato  (It.,  mar-tel-lah't6h).  "Hammered"; 
on  the  violin,  play  the  notes  with  a  sharp,  decided 

stroke  (<m\  ;  on  the  piano,  strike  the  keys  with  a 

heavv,  inelastic  plunge  of  the  finger,  or  (in  oc- 
tave-playing) with  the  arm-staccato. 

Marziale  (It,,  mar-tse-ah'lSh).     Martial,  warlike. 

Masque.  A  kind  of  musical  drama,  popular  in  the 
i6th  and  17th  centuries;  a  spectacular  play  with 
vocal  and  instrumental  music.  It  differed  from 
the  opera  by  the  lack  of  monody. 

Mass.  In  the  R.  C.  Church,  the  musical  service 
taking  place  during  the  consecration  of  the  ele- 
ments, with  5  divisions:  (i)  Kyrie,  (2)  Gloria  (in- 
cluding the  (jratias  agimus.  Qui  tollis,  Quoniam, 
Cum  Sancto  Spiritu) ;  (3)  Credo  (with  the  Et  in- 
carnatus,  Cruciiixus,  Et  resurrexit)  ;  (4)  Sanctus 
and  Benedictus  (with  the  Hosanna)  ;  (5)  Agnus 
Dei  (with  the  Dona  nobis) ... //I'^/i  mass,  one 
celebrated  at  church-festivals,  with  music  and 
incense.,  ./-frt'  muss,  one  without  music. 

MSssig  (Ger.,  mS'siyh).  Measured;  moderate... 
Mdssis^  /ansrsatn,  moderately  slow  ;  vidssig  ge* 
sclni'ind,  moderately  fast. 

Master-chord.  The  dominant  c\iort. .  .Master* 
fugue,  a  long  and  elaborate  iw^xi^..  .Master- 
note.  ]ea.dinii-note...Mastersinger,  see  Meister- 

SINGKR. 

Mat'ins.  The  music  sung  at  morning  prayer  ;  the 
tirst  I't  the  canonical  hours. 

Mazurka  (Polish,  mah-7.of)r'kah).  A  Polish  na. 
tional  dance  in  triple  time  and  moderate  tempo, 
with  a  variable  accent  on  the  third  beat. 

Me  stands  for  Mi,  in  Tonic  Sol-fa. 

Measurable  music.     Mensurable  music. 


90  Measure — Melodrama 

Measure,  i.  The  notes  and  rests  comprised  be- 
tween 2  bars  ;  the  metrical  unit  in  a  composition, 
with  regular  accentuation,  familiarly  called  a 
'■'■  ha.r^\  ..Measiire-fiote,  a  note  shown  by  the 
time-signature  to  be  an  even  divisor  of  a  meas- 
ure; thus,  I  shows  that  each  measure  has  3 
quarter-notes,  and  the  measure-note  is  then  a 
quarter-note..  .J/^^j-^^r^-r^i'/',  see  Rest. 

Mechanism.  A  literal  (and  bad)  translation  of  the 
French  mecaiiisnie^  which  means  technical  ability 
or  skill,  mechanical  dexterity  or  training. 

Medesimo  (It.,  meh-da'ze-moh).    The  same. 

Mediant.     The  3d  degree  of  the  scale. 

Meistersinger  (Ger.,  mi'ster-zing'er  ;  sitignlar  and 
plural).  Mastersinger(s):  in  Germany,  the  suc- 
cessors of  the  Troubadours  {Miiuiesdnger).  but, 
UDlike  the  latter,  chiefly  artisans.  They  existed 
from  the  14th  century  till  1839. 

Melancolia  (It.,  ma-lahn-koh-le'ah)      Melancholy. 

Melange  (Fr.,  ma-lahn'zh).     A  medley,  pot-pourri. 

Melis'ma  (Greek").  A  melodic  ornament  or  grace; 
co\oxaXViXQ..  —  MeUsmat'ic.,  ornamented,  embel- 
lished ;  rnelismatic  song-,  that  in  which  more  than 
one  tone  is  sung  to  a  syllable;  opposed  to  syllabic 
song. 

Melodeon.  The  original  American  organs  wera 
called  Melodeons,  or  Melodiums.  See  Reed- 
ORG.\N'. 

Melodia.  An  organ-stop  resembling  the  Clara* 
bella  ;  a  kind  of  stopped  diapason. 

Melodia  (It.,  meh-loh-de'ah").  yielody ..  .Mar cata 
la  tuelodta.,  the  melody  (should  be)  marked. 

Melod'ic.  i.  In  the  style  of  a  melodv;  progressing 
by  single  tones.— e.  Vocal,  singable;  as  a  melodic 
interval. 

Melodico  (It.,  mgh-loh'de-koh).    {Melodious,    sing- 

Melodioso   (meh-16h-de-oh's6h).  '      i°&- 

Melodion.      A  piano  in  which  steel  bars  pressed 

against    a   revolving  cylinder  took  the  place  of 

strings  ;    invented  by  j.  C.  Dietz,  of  Emmerich, 

Germany. 

Melodium.     A  Melodeon. 

Mel'odrama.  Originallv.  a  musical  drama;  now  (i) 
stage-declamation  with  a  musical  accompani- 
ment; (2)  a  romantic  and  sensational  drama  ia 
which  music  plays  a  subordinate  part. 


Melody— Meter  gt 


Melody.  i.  The  rational  progression  of  single 
tones:  contrasted  with  Harmony,  the  rational 
combination  of  several  tunes. — 2.  The  leading 
part  (usually  the  soprano).— 3.  An  air  or  tune. 

Md'ograph.  Name  of  various  mechanical  devices 
for  recordinjf  the  music  played  on  a  pianoforte. 

Melos  (Greek,  ma'16hs,  "song").  The  name  be- 
stowed by  Wagner  on  the  style  of  recitative 
employed  in  his  later  musical  dramas.  r^j^Q^ 

Meme  (Fr.,  mam).     Same.  ..A  la  tnente,  tempo  pri- 

Men,  Meno  (It.,  ma'n6h).  Less;  not  so. ..Meno 
a/Zeg^ro,  not  so  last.— Meno  alone  stands  for  meno 
mosso,  not  so  fast. 

Mensurable  notation,  so  called  because  its  notes 
were  invented  in  the  12th  century  on  purpose  to 
express  exact  {measurable)  time-values,  suc- 
ceeded Plain  Chant,  whose  notes  do  not  express 
exact  rhythmical  values. 

Menuet  (Fr.,  mu-nu-a').         I  ^  minuet. 

Menuett  (Ger.,  ma-noo-et').  ' 

Messa  (It.,  mes'sSh).  \ 

Messe  (Fr.,  mess).       'Mass. 

Messe  (Ger.,  me.s'sS).  ' 

Messa  di    voce   (It.,  mes'sSh    de  voh'cheh).     The 
attack  of  a  sustained  vocal  tone 
pianissimo,  with  a  swell  to  for- 
tissimo,  and   slow  decrease  to 
pianissimo  again  : 

Mestamente  (It.,  mSh-stSh-men't§h).  )    Plaintively, 

Mestizia,  con  (k6hn  meh-ste'tse-Sh).  *'  grievingly. 

Mesto  (It  ,  meh'stoh).     Pensive,  sad,  melancholy. 

Mesurd  (Fr.,  mii-zu-ra').  i.  Measured,  moderate. 
—2.  In  exact  time. 

Meter,  Metre,  i.  In  music,  the  symmetrical  group- 
ing of  musical  rhythms.— 2.  In  verse,  the  division 
into  symmetrical  lines.  The  metre  of  Eny^lish 
hymns  is  classified,  according  to  the  kind  <>f  feet 
used,  as  iambic,  trochaic,  or  dactylic  ;  the  figures 
show  the  number  of  svllables  in  each  line  : 

I.-\MBIC  Meikf.-^:  Common  metre  (C.^l^,%  6  Z6\ 
Lonq-  metre  <L.M.),  8  88  8;  Short  metre  f.S>M.\ 
66  8  6.  These  have  regularly  4  lines  to  each 
stanza;  when  d(^)ubled  to  8  lines  they  are  called 
Common  metre  double  ( C .  M .  D. ),  Lon^  metre  double 
(L.M.D.),  and  Short  rnet re  double  iS.'Sl.D.).  They 
may  also  have  6  lines  in  each  stanza,  and  ate 
then  named  Common  particular  metre  (C.P.M.), 


m 


g2  Metronome — Minaccioso 

8  8  6  8  8  6;  Long-  particular  tnetre  (L.P.M.),  or 
Long  metre  6  lines,  8  8  8  8  8  8;  and  Short  particu- 
lar metre  (S.P.M.),  6  6  8  6  6  8.  Besides  the  above, 
there  are  Sevens  and  Sixes,  7676;  'J  ens,  10  10  10  10 ; 
Hallelujah  tnetre,  6  6  6  6  8  8  (or  6  6  6  6  4  4  4  4),  etc. 

Trochaic  metres:  Sixes,  6666;  Sixes  and 
Fives,  6565;  Sevens^  7777;  Eights  ajid  Sevens, 
8787,  etc. 

Dactylic  metres  :  Elevens,  n  n  n  u  ;  Elevens 
and  Tens,  n  10  n  10,  etc.  These  are  most  of  the 
metres  in  general  use. 

Met'ronome.  The  familiar  "time-keeper  "  of  music- 
students;  a  double  pendulum  moved  by  clock- 
work, and  provided  with  a  slider  on  a  graduated 
scale  marking  the  number  of  beats  the  metro- 
nome makes  per  minute.  MM.  stands  for  "  Mael- 
zel's  Metronome  "  after  the  reputed  inventor, 
Maelzel  of  Vienna  (1816). 

Mezzo,  -a  (It.,  med'zoh,  -zah).  i.  Half.— Written 
alone,  as  an  expression-mark,  it  refers  to 
either  an  /  or  a  p  just  preceding,  thus  meaning 
"mezzo  /^r/^"  or  "  mezzo  fiano'\.  .Mezzo  forte, 
half -loud...  .Mezzo  legato,  in  piano-playing,  calls 
for  a  light  touch  with  less  pressure  than  in  legato, 
...Mezzo  piano,  half-soft  (less  loud  than  mezzo 
forte).  ..Mezza  voce,  "  with  half  the  power  of  the 
voice";  calls  for  mezzo  forte,  both  in  singing  and 
playing. 

Mezzosoprano  (It.,  med'zoh-soh-prah'noh).  The 
female  voice  between  soprano  and  alto,  partak- 
ing of  the  quality  of  both,  and  usually  of  small 
compass  ia-f^,  or  a-g"^),  but  very  full-toned  in 
the  medium  register.    (Engl.  Mezzo-soprano.) 

Mi.  The  third  Aretinian  sj'llable ;  name  of  the 
note  .£'in  France,  Italy,  etc. 

Middle-C.     The  C  in  the  middle  of  the 
piano-keyboard  :  "^ 

Militarmente  (It.,  me-le-tar-men'teh).  In  military 
(march-)  style;  alia  tnilitare. 

Military  music.  Instruments  of  percussion  and 
wind-mstruments  only,  admitting  the  cornett 
bugle,  saxophones,  etc. 

Minaccevole  (It.,  me-naht-cha'voh-leh). 

Minaccevolmente  ( — cha-vohl-men'teh), 

Minacciando  (It.,  — chahn'doh).  •        In 

Minacciosamente  (— choh-sah-men'teh). 

Minaccioso  (It.,  — choh'soh).  ^ 

menacing  or  threatening  manner. 


i 


Minim— Mode  93 


Minim.     A  half-note. .  .Minim-rest,  a  half-rest. 

Minnesanger  (Ger.,  min'n^-zeng'er).  I  ( Either  form 

Minnesinger  (Ger.,  min'ne-zing'er).    ' 
is  both  sin^'uiar  and  plural.)    The  German  trou- 
badours, or  lyric  poets  and  singers  of  the  12th 
and  13th  centuries. 

Minor.     Lesser,  smaller.     See  INTERVAL. 

Minstrels.  In  the  middle  ages,  professional  mu- 
sicians who  sang  or  declaimed  poems,  often  of 
their  own  composition,  to  a  simple  instrumental 
accompaniment. 

Minuet'.  An  early  French  dance-form.  As  an  art- 
product  it  is  usually  a  double  minuet  with  con- 
trasted sections  of  16  measures  each,  the  first  sec- 
tion repeated  after  the  second  (the  Trio>.  It  is 
in  triple  time  and  slow,  stately  movement. 

Minuetto  (It.,  me-noo-et'toh).     Minuet. 

Miracle,  Miracle-play.     See  MVSTEKY. 

Missa  (Latin).  The  yi&ss..  .Missa  brevis,  short 
mass.  ..J//.5\>t/  solemnis.  high  mass. 

Misteriosamente (It., me-steh-re-6h-s^h-men't§h).  \ 

Misterioso  (It.,  me-st6h-re-oh's6h).  > 

Mistero.  con  (It.,  k6hn  me-sta'r6h).  ' 

In  a  style  suggestive  of  mj'stery,  or  of  hidden 
meaning. 

Misura,  alia  (It.,   Shl'lSh   me-zoo'rSh).  I    y^\x.\i  the 

Misurato  (It.,  me-zoo-rah'toh).  » 

measure  ;  in  exact  time. 

Mit  (Ger.,  mit).  With. .  .il///  Ausdruck,  with  ex- 
pression . . .  iMit    Begleitun^^,  accompanied  .   .  Mit 

Beivegun^,     with     animation,    con     inoto Mit 

halber  Stimme,  mezza  \oQQ...Mit  innigster 
Empfindung,  with  deepest  emotion.,  .il///  hrajt^ 
powerfully,  con  iov/.a. 

Mixed  Cadence.  See  CADEtiCE. .  .Mixed  chorus., 
guar/ety  voices,  vocal  music  combining  male  and 
female  voices. 

Mixture.  A  compound  auxiliary  flue-stop  with 
from  3  to  6  ranks  of  pipes  sounding  as  many  har- 
monics of  any  note  played. 

Mobile  (It.,  mo'be-leh).  Readily  responsive  to 
emotion  or  impulse. 

Mode.  I.  Formerly,  an  octave-scale:  that  is,  a 
scale  beginning  on  any  tone  of  our  major  scale, 
and  running  up  (.or  down)  an  octave. -j.    Now, 


94  Moderate— Morbido 

either  of  the  2  groups  of  modern  scales,  major  or 
minor,  taken  collectivelj-;  a  piece  is  in  the  major 
mode  when  written  chiefly  in  major  keys;  in  the 
minor  i?wde,  when  written  chiefly  in  minor  keys. 

Moderate  (It.,  moh-deh-rah'toh).  Moderate  ;  that 
is,  at  a  moderate  tempo,  or  rate  of  speed... 
Allegro  moderator  moderately  fast. 

Moderatamente  (It.,  moh-deh-rah-tah-men'teh).     | 

Moderazione,  con  (kohn  moh-deh-rah-tseoh'neh).  ' 
With  moderation  (of  either  tempo  or  emotion). 

Moderno,  -a  (It.,  moh-dar'noh,  -nah).  Modern... 
Alia  ?noderjia,  in  modern  style.  [other 

Modulate.     To  pass  from  one  key  or  mode  into  an- 

Modulation.  Passage  from  one  key  or  mode  into 
another. . .  Cliromatic  modulation^  one  effected  by 
use  of  chromatic  intervals... Z)/a/f?«/^  mod.,  one 
effected  by  use  of  diatonic  intervals. .  .Bfi/iar- 
monic  mod.,  one  effected  by  using  enharmonic 
changes  to  alter  the  significance  of  tones  or  inter- 
vals.. .Filial  mod.,  one  in  which  the  new  key  is 
retained,  or  still  another  io\\ovis...Passi7ig, 
Transient,  Transitory  mod.,  one  in  which  the 
original  key  is  speedily  regained. 

Moglich  (Ger.,  mo'gliyh).  Possible. .  .So  rasch  zvie 
vioglich,  as  fast  as  possible. 

Molio,  -a  (It.,  mohl'toh,  -tah).  Very,  much... 
Molto  adagio,  vt^ry  slowly ..  .A/olto  allegro,  very 
fast.  ..Con  molt  a  passione,  wnth  great  passion, 
very  passionately. .  .Di  molto  or  Molto  molto.  ex- 
ceedingly, extremely;  as  crescendo  molto  moito^ 
growing'very  much  louder. 

Mon'ody.  A  style  of  composition  in  which  one 
part,  the  melody,  predominates  over  the  rest, 
they  serving  as  a  support  or  accompaniment  to  it. 

Monoph'onous.  Capable  of  producing  but  one 
tone  at  a  time. 

Monoph'ony.     See  MON'ODY. 

Mon'otone.  i.  A  single  unaccompanied  and  un- 
varied tone. — 2.  Recitation  (intoning,  chanting) 
on  such  a  tone. 

Moralities.     A  later  form  of  the  Miracle-plays. 

Morbidezza,  con  (It.,  kohn  mor-be-det'sah).  With 
tenderness  ;  softly. 

Morbidissimo  (It.,  mor-be-dis'se-moh).  Very  ten- 
derly, softly. 

Morbido  (It.,  mor'be-doh).     Soft,  tender. 


Morceau— Motion 


Morceau  (Fr.,  mor-soh').     A  piece,  composition... 
Morceau  de  genre  izhahn'r),  characteristic  piece. 

Mordant  (Fr.,  mc.r-dahn').  I.  ^  ^^ace  consisting  of 
Mordent  (Ger.,  mor'dent).  ' 

the  single  rapid  alternation  of  a  principal  note 

with  an  auxili-  aJv 


arya  minor  sec-     V  ■     „i„„p,i  ~^^'- 

below  :  ts^-fzziz  '^  Played  ^m^ 


ond 


hiverted  mordent,  the  alternation  of  the  princi- 
pal note  with  the  higher  auxiliary  : 


played    z:t 


Moreiido  (It.,  moh-ren'doh).    Dying  away. 

Mormorando    (It.,   mor-m6h-rahn'd6h).  j 

Mormcrevole  (It.,  — ra'voh-leh).  .-Murmur- 

Mor.-noroso  (It.,  — roh'soh).  ' 

inu,  -nurmurous  ;  in  a  very  gentle,  subdued  tone. 

Mormorio  (It.,  mor-moh-re'oh).  Murmur... CV;wz^ 
un  mormorio,  like  a  murmur. 

Mosso  (It.,  mohs'soh).  "Moved."  Standing  alone, 
as  a  tempo-mark,  it  is  the  same  as  ^^  co7i  moto."" 
It  means  "'  rapid  "  in  the  phrases  meno  7nosso  (less 
rapid),  //«  ?nosso  (more  rapid),  and  foco  mosso 
(somewhat  x&v>\d,)... Allegretto  poco  mosso,  a 
rather  lively  allegretto,  almost  allegro.  ..il/t7.y.y(; 
agitato,  a  fast  and  agitated  movement ;  assai 
?nosso  e  agitato,  very  rapid  and  agitated. 

Motet'.  A  sacred  vocal  composition  in  contrapun- 
tal style,  and  without  accompaniment.  (Pieces 
in  an't/ietn-style  are,  however,  sometimes  called 
motets.) 

Motet  (Fr.,  moh-ta').  '.  Motet 

Motette  (Ger.,  moh-tet'tg).  >  " 

Motif  (Fr.,  m6h-tef0-     Motive. 

Motion.  I.  The  progres.sion  or  conduct  of  a  single 
part  or  melody;  his  conjunct  when  progressing 
by  steps,  disjunct  when  progressing  by  skips.— 
2.  The  movement  of  one  part  in  relation  to  that 
of  another  ;  in  contrary  or  opposite  motion  one 
part  ascends  while  the  other  descends  ;  in  oblique 
motion  one  part  retains  its  tf)ne  while  tlie  other 
moves;  in  parallel  motion,  both  parts  move  up  or 
down  by  the  same  interval ;  in  similar  motion 


96  Motive— Mute 


both  move  iip  or  down  together  by  dissimilar 
intervals  ;  in  tnixed  motion,  two  or  "more  of  the 
above  varieties  occur  at  once  between  several 
parts. 

Motive.  I,  A  short  phrase  or  figure  used  in  devel' 
opment  or  imitation. — 2.  A  Leading-motive... 
Measure-motive,  one  whose  accent  coincides  with 
that  of  the  ineasure. 

Moto  (It.,  mo'toh).  Motion ;  speed  ;  movement, 
tempo.— Cl>//  jnolo,  with  an  animated  and  ener- 
getic mowQraent..  .Aloto  f>recedente,  at  the  for- 
mer tempo.  ..Fiu  {meno)  moto,  same  a.sj>tu  (fneno) 
mosso. 

Motteggiando  (It.,  moht-ted-jahn'doh).  In  a  ban« 
tering,  facetious  style. 

Mottetto  (It.,  moht-tet'toh).     Motet. 

Mouthpiece.  That  part  of  a  wind-instrumenl 
which  a  player  places  upon  or  between  his  lips. 

Mouvement(Fr.,  moov-mahn').  Movement ;  tempo. 

Movement,  i.  Tempo. — 2.  A  principal  division  or 
section  of  a  composition. 

Movendo  il  tempo  (It.,  moh-venMoh  el  tem'poh). 
Growing   faster. 

Munter  (Ger.,  moon'ter).     Livel}',  gay,  animated. 

Musette  (Fr.,  mii-zet').  i.  A  small  oboe.— 2.  A  kind 
of  bagpipe  ;  also,  a  .short  piece  imitating  this 
bagpipe,  with  a  drone-bass. — 3.  A  reed-stop  on 
the  organ.  [musi'ca,  an  opera. 

Musica   (It.,   moo'ze-kah\      Music. .  .Dram fna  per 

Musical  box,  Music-box.  The  Swiss  music-box 
has  a  metal  cylinder  or  barrel,  studded  with  pins, 
and  turned  by  clockwork:  in  revolving,  the  pins 
catch  and  twang  a  comb-like  row  of  steel  teeth, 
each  tooth  producing  a  tone.  [ment). 

Muta  (It.,  moo'tah).     "Change!"  (crook  or  instru- 

Mutation.  i.  Change  of  voice. — 2.  Change  of  posi- 
tion, shifting  (violin). 

Mutation-stop.  In  the  organ,  any  stop  (except  a 
mixture)  whose  pipes  produce  tones  neither  in 
unison  nor  in  octaves  with  the  foundation-stops 
(8-foot  stops)  ;  that  is,  all  tierce-  and  quint-stops, 
and  their  octaves. 

Mute.  I.  A  heavy  piece  of  metal  fitted  to  the 
bridge  of  a  violin,  etc.,  to  deaden  the  sound.  The 
direction  for  putting  on  the  mutes  is  "con  sor- 
dini " ;  for  taking  them  oflf,  "  senza  sordini."— 2.  A 


Mut(h)ig— Natural  97 

leather-covered  pad,  pasteboard  cone,  or  wooden 
cylinder,  inserted  in  the  bell  of  the  horn  or 
trumpet  to  modify  the  tone. 

Mut(h)ig  (Ger.,  moo'tiyh).     Spiritedly,  boldly. 

Mysteries.  Medieval  bible-plays,  often  with  vocal 
and  instrumental  music.  In  the  form  called 
Moralities,  abstract  ideas  were  personified  on 
the  stage. 

N 

Nach  (Ger.,  nSh).     After;  according  to. 
Nach  Belieben  (.Ger.,  nSh  b6-le'ben).     A  piacere. 
Nachdrucklich   iGer.,    nah'dr/Vk'lTyh).  )  vy-jfu    g™, 
Nachdruck,  mit  (Ger.,  mit  n3,h'dr66k).  ' 

phasis,  stron^jly  marked. 
Nachgebend    (Ger.,     nSh'ga'bent).       \ 
Nachgiebig  (Ger.,  n5h'j?e'bTyh).  ,- Yieldingly, 

Nachlassend      (Ger.,      nilh'lilh'sent).   ) 

slower  and  slower  ;  rallentaudo. 
Nachgiebiger  (Ger.,  n3.h'ge'bTyh-er).    Still  slower. 
Nachlassig  (Ger.,  nah'les'sTyh).     Carelessly. 
Nachthorn  (Ger.,  n^ht'horn).      I  ^  ^^^^^^^  .^ 

Nachtschall  Ger.,  naht'shShl).  * 

the   orjran,   having   covered    pipes  of    2-,  4-,   or 

8-foot  pitch. 
Nach  und  nach  (Ger.,  nSh  5ont  nSh').    Little   by 

little,  gradually. 
Naked  Fifth  (Fourth^    An  harmonic  Fifth  (Fourth) 

without  an  added  Third. 
Narrante  (It.,  nSr-rahn'tSh).     Narrating  ;  as  if  tell- 
ing a  story  ;  calls  for  distinct  declamation. 

Nasard  (Fr.,   ndh-zar').      \   ^he    Twelfth    (organ- 

Nasat    (Ger..    nSh-zahtO.  » 
stop)  of  a^^-foot  pitch  (large  sizes  10%  and  5,"-^, 
smaller  size  i]^). 

Na'son  flute.  An  organ-stop  having  stopped 
pipes  of  mild,  suave  tone. 

Natural,  i.  The  sign  ta. — 2.  A  white  key  on  the 
keyhaard. .  .A'a/ura/ /larmonics,  those  produced 
on  an  open  string. .  .A'a/i/ra/  horn,  the  F'-ench 
horn  without  \i\\\^i>.  ...\atural  interval,  one 
found  between  any  two  tones  of  a  diatonic 
major  s,ca,\G.  ..A'atural  key,  C  mnjnr. .  .Xatural 
pitc/i,   that  of    any    wind-instrument   when    not 


98  Natiirale— Nodal  figures 

overblown. .  .iVa/«ra/  scale,  C  major,  having 
neither  sharps  nor  flats.  ..Natural  tone,  any  tone 
obtained,  on  a  wind-instrument  with  cupped 
mouthpiece,  without  using  keys,  valves,  or  the 
slide. 
Naturale  (It.,  nah-too-rahMeh).  \.  ^  ^^^^r^X,  un- 
Naturalmente  (— rahl-men'teh).  ' 

affected  style. 
Neapolitan   Sixth.     A  chord  of  the  Sixth   on   the 

subdominant  in  minor,  with  minor  Sixth. 
Negli  (It.,  nal'ye).     In  the. 
Negligente  (It.,  neh-gle-jen'teh).  \ 

Negligentemente  (— jen-teh-men'teh).       /■  In  a  style 
Negligenza,  con  (kohn  neh-gle-jen'tsah).  ' 
expressive  of  negligence,  carelessness. 
Nei  (na'e),  nel,  nell',  nella,  nelle,  nello  (It.).    In  the. 
Nervoso  (It.,  nar-voh'soh).    In  a  forcible,  agitated 

style. 
Nettamente  (It.,  net-tah-men'teh).  \  In  a  neat,  clear, 
Netto,  -a  (It.,  net'toh,  -tah).  f  distinct  style. 

Neumes.     Signs  used,  in  the  early  middle  ages,  to 
represent  tones.  [-too  slow. 

Nicht  (Ger.,  niyht).     '^ot...Nicht  zu  lait^sarn,  not 
Niente   (It.,  ne-en'teh).       Nothing. ..  ^/mi'z'  nietite, 
barely  audible.  [Fifth.— 2.  A  Larigot. 

Nineteenth,      i.   The  interval  of  2  octaves  and  a 
Ninth.     The  interval  of  an  octave,  plus  a  major  or 

minor  Second. 
Nobile  (It.,  no'be-leh).  ^  lu  a  refined, 

Nobilita,   con   (kohn  noh-be-le-tah')-  /-chaste,  lofty 
Nobilmente  (noh-bel-men'teh).  '  style. 

Noch  (Ger.,  noh).     Still;  yet... Noch  rascher.,  still 

faster. 

Nocturne  (Fr.,  nohk-tiirn')-    A  piece  of  a  dreamily 

romantic  or  sentimental  character,  without  fixed 

.    form.  [night. 

Noc'turns.    Services  of  the  Church  held  during  the 

No'dal  figures.    The  figures  corresponding  to  the 

''  nodal  lines  "  of  a  vibrating  plate  of  wood,  glass, 

etc.;  rendered  visible  by  strewing  fine  dry  sand  on 

the  plate,  this  sand  being  tossed  by  the  vibrating 

portions  of  the  plate  to  the  "  nodal  lines,"  which 

are  points  of  perfect  or  comparative  rest,  ..AW<?/ 

point.,  see  Node. 


Node— O  99 


Node.  A  point  or  Hne  in  a  vibrating  body  (such 
us  a  string,  sound-board,  trumpet,  bell),  which 
remains  at.  rest  during  the  vibration  of  the  other 
parts  of  the  body. 

Non  (It.,  nohn).     Not.  fments. 

Nonet'.     A  composition  for  nine  voices  or  instru- 

Non'uplet.  A  group  of  g  notes  of  equal  time- 
value,  executed  '.n  the  time  proper  to  6  or  8  of 
the  same  kind  belonging  to  the  regular  rhythm. 

Notation.  The  art  of  representing  musical  tones, 
and  their  modifications,  by  means  of  written 
characters. 

Note.  One  of  the  signs  used  to  express  the  rela- 
tive time-value  of  tones. .  .A^o/e  affuitist  7ioie^ 
counterpoint  in    equal    notes... 6?/^/i    tiote^    one 

with  an  open  head. :  (  ^^     J  )• 
Notturno  (It.,  nSht-toor'noh).    A  Nocturne. 

Novellette  (Ger.,  noh-vel-let'tS).  An  instrumental 
piece  free  in  form,  bold  in  harmony,  romantic 
in  character,  of  considerable  length,  and  with  a 
variety  of  contrasting  themes. 

Nuance  (Fr.,  nii-ahnss').  Shading;  change  in 
musical  expression,  either  in  the  tone-color,  tem- 
po, or  degree  cf  force. 

Number,  i.  A  sub-division  of  an  opera  or  ora- 
torio.—2.  A  smaller,  and  more  or  less  complete, 
portion  of  a  large  work,  such  as  a  song,  aria, 
interlude,  etc.— 3.  Any  single  piece  on  a  program. 
— 4.  An  Opus-number. 

Nun's  fiddle.     See  Tromb.\  Marina. 

Nuovo,  di  (It.,  de  n5(5-o'v6h).  /  a„„;„   „„^^ 

'  '  ^  Again,  anew. 

Nuovamente  (n66-6h-v3.h-men't6h).  ' 

Nut.  I.  The  ridge  over  which  the  strings  pass  at 
the  end  of  the  fingerboard  next  the  head  of  a 
violin,  etc. — 2.  The  sliding  projection  at  the  lower 
«nd  of  the  violin-bow,  by  means  of  which  the 
hair  is  tightened  or  slackened. — 3.  The  "lower 
nut"  on  the  violin  is  the  ridge  between  the  tail- 
piece and  tailpin  (or  button). 


O.     A  small  circle   signifies  (</)  an  open  string;  (J)) 
the  harmonic  mark  ;  K.C)  the  diminished  Fifth. 


O— Oder 


O  (It.,  6h>.  Or.  (Written  before  either  vowels  or 
consonants;  od  is  an  unusual  form.) 

Obbligato  (It.,  ohb-ble-gah'toh).  Required,  indis- 
peubable.  An  obbligato  part  is  a  concerted  (and 
therefore  essential)  instrumental  part;  especially 
when  accompanying  and  vying  with  a  vocal  solo. 

Obligato    (Ger.  spelling,  6h-ble-gah'toh).      Obbli, 

GATO. 

Oblique  (-blek')  motion.     See  MOTION. 

Oboe.  [Ger.  Oboe  (oh-boh'e);  It.  c>(^c^  (oh'boh-eh).] 
I.  An  orchestral  in.strument  with  conical  wooden 
tube,*Q  to  14  keys,  and  a  double  reed;  compass  a 
octaves  and  a  Seventh,  from  b\fX.o  a^.  Tone  very 
reedy  and  penetrating,  though  mild.  Only  2 
kinds  are  in  ordinary  use,  the  treble  oboe  (just 
described),  and  \.\i&  a.\1-o\>OQ.  {cor  anglais)  oiXowQX 
pitch.— 2.  In  the  organ,  an  8-foot  reed-stop,  with 
conical  pipes  surmounted  by  a  bell  and  cap. 

Ocarina  (It.,  6-kah-re'nah),  "  Goose-pipe  "  ;  a 
bird-shaped  wind-instrument  of  terra  cotta,  witb 
finger-holes  and  a  whistle-mouthpiece. 

Octave.  I.  A  series  of  8  consecutive  diatonic  tones. 
—2.  The  interval  between  the  ist  and  8th  tones  of 
such  a  series.— 3.  In  the  organ,  a  stop  whose  pipes 
sound  tones  an  octave  higher  than  the  keys 
touched;  like  the  '^r'\rvc\-p&.\. .  .Concealed,  covered^ 
or  hidden  octaves  (or  Fifths),  parallel  octaves  (or 
Fifths)  suggested  by  the  progression  of  2  parts  in 
similar  motion  to  the  interval  of  an  octave  (or 
Fifth). .  .Rule  of  the  octave,  a  series  of  harmonies 
written  over  the  diatonic  scale  as  a  bass. .  .Short 
octave,  the  lowest  octave  of  some  old  organ- 
manuals,  in  which  some  keys  (and  pipes)  are 
omitted. 

Octave-coupler.  One  uniting  the  8-foot  tones  of 
one  keyboard  with  those  an  octave  higher  on 
another. 

Octave-flute,  i.  The  piccolo.— 2.  An  organ-stop 
of  4-foot  pitch. 

Octave-scale.     See  MODE  i. 

Octave-stop.     See  OCTAVE  3. 

Octet'.     A  composition  for  8  voices  or  instruments. 

Octuor  (Fr.,  ohk-tzV-ohr').     An  octet. 

Oc'tuplet.  A  group  of  8  equal  notes  having  the 
same  time-value  as  6  notes  of  the  same  kind  in 
the  regular  rhythm. 

Oder  (Ger.,  oh'der).    Or  ;  or  else. 


Off— Operetta 


Off.  In  organ-music,  a  direction  to  push  in  a  stop 
or  coxipWv... Off  t he  pitchy  false  in  pitch  or  in- 
tonation. 

Offertoire  (Fr.,  6h-fa^-t\\•ah'r^.     \ 

Offertorio  (,lt.,  6hf-far-t6're-6h).  I- Offertory ;  in  the 

Offerto'rium  (Latin).  ' 

R.  C.  Mass,  the  verses  or  anthem  following  the 
Credo,  and  sung  by  the  choir  while  the  priest  is 
placing  the  consecrated  elements  on  the  altar, 
during  which  the  offerings  of  the  congrega- 
tion are  collected. 

Ohne  (Ger.,  oh'nS).     Without. 

Omniton'ic.  Having  or  producingall  tones  ;  chro- 
matic (.instrument). 

Once-accented.     See  PITCH,  ABSOLUTE. 

Ondeggiamento  (It.,  6hn-ded-jah-men'toh).  Un- 
dulation ;  rocking  (as  by  waves). 

Ondeggiante  (It.,  6hn-ded-j3.hn'teh).  Undulating, 
billowy,  rocking. 

One-lined.     See  PITCH,  ABSOLUTE. 

Open  diapason,  harmony,  note,  order,  pipe,  etc., 
see  the  nouns. 

Open  pedal.    The  loud  piano-pedal. 

Op'era.  A  form  of  drama,  of  Italian  origin,  in 
which  vocal  and  instrumental  music  are  essen- 
tial and  predominant.  The  several  acts,  usually 
preceded  by  instrumental  introductions,  con- 
sist of  vocal  scenes,  recitatives,  songs,  arias, 
duets,  trios,  choruses,  etc.,  accompanied  by  the 
orchestra.  This  is  the  Grand  or  Heroic  opera  : 
a  Comedv-opera  is  a  versified  comedy  set  to  mu- 
sic ;  a  Comic  opera  has  spoken  interludes. 

Opira  bouffe  (Fr.,  Sh-pa-rih  boof  )•      I  Light  comic 

Opera  buffa  (It.,  oh'pa-rSh  b66f'f4h).  S 
opera. 

Opera-comique  (Fr.,  oh-pa-rih  k6h-mek').  Comedy- 
opera. 

Opera  seria  (It.,  oh'pa-rSh  sS'te-Sh).  Serious 
(grand,  heroic,  tragic)  opera. 

Operetta  (It..  6h-p6h-ret'tah).  I  ^   ..jj^^j^   opera"; 

Operette  (Fr.,  6h-pa-ret').  * 

the  poem  is  in  a  comic,  mock-pathetic,  parodis- 
tic,  or  anvthing  but  serious  vein  ;  music  light 
and  lively,  often  interrupted  by  dialogue. 


Ophicleide— Organ-point 


Ophicleide  (ot'i-klid).  The  bass  instrument  of 
the  key-bugle  family  ;  now  little  used. 

Opposite  motion.     Contrary  motion. 

Oppure  (It.,  ohp-poo'reh).  Or  ;  or  else  :  often  writ- 
ten opp. 

O'pus  (Latin).  Work;  often  written  Op.,  or  op... 
Opus-number.,  one  number  in  the  series  with 
which  a  composer  marks  his  works. 

Orato'rio  (It.,  6h-rah-t6're-6h).  An  extended, 
more  or  less  dramatic,  composition  for  vocal  so- 
los and  chorus,  with  accompaniment  by  orches- 
tra or  organ  (or  both),  sung  without  stage-play 
or  scenery. 

Orchester  (Ger.,  or-kes'ter).     Orchestra. 

Orchestra  (or'kes-trah).  A  company  of  musicians 
performing  on  the  instruments  usually  employed 
in  opera,  oratorio,  or  symphony  ;  hence,  the  in- 
struments, taken  together. 

Orchestral  (or-kes'tral,  or  or'kes-tral).  Pertaining 
to,  or  resembling,  the  ovQ.'\\&?,\.r2i..  ..Orchestral 
piano-plavin^.xh^  style  of  Lisztand  his  disciples, 
who  try  to  imitate  orchestral  effects  on  the  piano. 

Orchestra'tion  f-kes-).  The  art  of  writing  music 
for  performance  by  an  orchestra  ;  the  science  of 
combining,  in  an  effective  manner,  the  instru- 
ments constituting  the  orchestra. 

Orchestrion  (or-kes'tre-on).  The  modern  orches- 
trion is  a  large  stationary  barrel-organ,  generally 
played  by  clockwork. 

Order,  The  arrangement  of  the  chord-tones  above 
a  given  bass,  open  and  close  order  \i^v!\^t\\&  same 
as  open  and  close  harmony. 

Organ.  The  church-organ,  or  pipe-organ,  is  a  key- 
board wind-instrument  consisting  of  few  or 
many  sets  of  pipes  played  from  one  or  more 
keyboards ;  there  may  be  5  keyboards  for  the 
fingers  (iHanuals),  and  there  is  generally  i  for  the 
feet  (pedal,  or  pedal-kevboard).  The  pipes,  of 
which  there  are  two  main  divisions,  flue-pipes 
and  reed-pipes,  are  arranged  in  sets  (registers, 
or  stops),  and  made  to  speak  by  wind  admitted 
from  the  bellows  on  pressing  the  keys. 

Organo  (It.,  or'gSh-noh).  Or^an.  ..Organo  pleno 
(Lat.),  full  organ. 

Or'gan-point.  A  tone  sustained  in  one  part  to  har- 
monies executed  in  the  other  parts;  usually  a 
bass  tone,  tonic  or  dominant  (or  both). 


Organ-tone — Ovvero  103 

Organ-tone.  The  tone  of  the  8-foot  Open  Diapa- 
jiason  on  the  Great  Or^an  manual  is  considered 
as  the  distinctive  "organ-tone.'"  (Also  called 
"  Diapason-tone  ".) 

Or'ganum  (Lat.).  i.  An  organ.— 2.  The  earliest  at- 
tempts at  harmonic  or  polyphonic  music,  in 
which  2  parts  progressed  m  parallel  Fifths  and 
Fourths. 

Orgel  (Ger.,  ohr'gel).  ).  Qrgan. 

O'-gue  (Fr.,  ohrg).         1 

Or'nament.     A  grace,  embellishment. 

Osservanza,  con  (It.,  k6hn  ^hs-sar-vShn'tsSh), 
With  care,  observing  all  signs. 

Osservato  (It.,  6hs-sar-vah't6h).  Carefully  ob- 
served ;  stile  osservato,  strict  style. 

Ossia  (It..  6hs-se'3.h).  Or  ;  or  else  ;  indicates  an 
alternative  (or  facilitated)  reading  or  lingering 
of  a  passage.    (Also  Oppure,  Ovvero.) 

Ostinato  (It.,  6h-ste-nah't6h).  Obstinate ;  basso 
ostiuato,  a  ground  bass  ;  hence,  an  "  ostinato  " 
is  the  incessant  repetition  of  a  theme  with  a  va- 
rying contrapuntal  accompaniment. 

Ottava  (It.,  6ht-tah'vah\  Octave. ...-///'  ottava 
(written  cS^'a-^-^^— ^  or  c?-"-^'-^),  "at  the  octave," 
an  octave  higher. .  .Cc;//'  ottava,  "with  the  oc- 
tave," that  is,  in  octaves. ..  6>/A/z.'a  alta,  the 
higher  ozl».\^.  ..Ottava  bassa  (^"^  bassa),  the 
lower  octave,  an  octave  below. 

Ottetto  (It.,  6ht-tet't6h).    An  octet. 

Ou  (Fr.,  00).     Or  ;  or  else. 

Ouverture  (Fr.,  oo-var-tiir').      f  Overture. 

Ouvertiire  (Ger.,  oo-var-tii'rS).  ' 

Overblow'.  With  wind-instruments,  to  force  the- 
wind  through  the  tube  in  such  a  way  as  to  cause 
any  harmonic  to  sound. 

Overstring'.  To  arrange  the  strings  of  a  piano  in 
2  sets,  one  lying  over  and  diagonally  crossmg' 
the  other  ;  a  piano  so  strung  is  called  an  over- 
struttir'  piano,  in  contradistinction  to  vertical. 

O'vertone.     Harmonic  tone. 

O'verture  A  musical  mtroduction  to  an  opera>, 
oratorio,  etc. — A  concert-overture  is  an  indepen- 
dent composition  in  sonata-form. 

Ovvero  (It.,  6hv-va'r6C    Or  ;  or  else. 


X04  P— Part-song- 


P.  Stands  for  Pedal  {P.  or  Ped.) ;  piano ip),  fp  or 
ppp,  ptamssimo  ;  P.  P".,  pianoforte;  //;  piano- 
forte (soft,  increasing:  to  loud);  fp,  forte-piano 
(loud,  diminishing  to  soft  instantly)  ;  mp,  mezzo- 
piano  (half-soft) ;  Pointe  (Fr.,  '•  toe  ")• 

Padovana  (It.,  pah-doh-vah^nSh).  A  Pavane. 
(Also  Padovafte,  Paduana,  Paduane^  etc.) 

Paired  notes.  Two  parallel  series  of  notes  played, 
on  the  piano,  with  one  hand. 

Pandean  (nan'de-an)  pipes,  Pan's-pipes.  A  set  of 
graduated  reeds  or  tubes  arranged  in  a  row  and 
blown  by  the  mouth  ;  a  very  ancient  instrument. 

Parallel  intervals  are  formed  by  the  simultaneous 
progression  of  two  parts  in  the  same  direction 
and  at  exactly  the  same  interval. 

Parallel  key,  motion.     See  KEY,  MOTION. 

Pa'raphrase.  A  transcription  or  rearrangement 
of  a  vocal  or  instrumental  piece  for  some  other 
instrument  or  instruments,  with  variations. 

Parlando  (It.,  par-14hn'd6h).  )  .  gpeaking  ; "     sing. 

Parlante  (It.,  par-lShn'tgh).     * 
ing   with    clear  and    marked    enunciation. — In 
piano-playing,  parlante  calls  for  a  clear,  crisp 
7ion  legato. 

Parlato  (It.,  par-lah'toh).    Spoken. 

Part.  I.  The  series  of  tones  written  for  and  ex- 
ecuted by  a  voice  or  instrument,  either  as  a  solo 
or  together  with  other  voices  or  instruments. — 
2.  A  division  of  a  homophonic  movement  devoted 
to  the  exposition  of  one  melody,  or  musical  idea  ; 
like  the  two-part  and  three-part  song-forms. 

Parte  (It.,par'teh).  'PaiVt. .  .Colla  parte,  a  direction 
to  accompanists  to  follow  yieldingly  and  dis- 
creetly the  solo  part  or  voice. 

Partial  stop.     A  half-stop. 

Partial  tone.     An  harmonic  tone. 

Partita  (It.,  par-te'tah).     A  suite. 

Partition.     A  score. 

Part-music.  Concerted  or  harmonized  vocal  music. 

Part-singing.  The  singing  of  part-music,  usually 
without  instrumental  accompaniment. 

Part-song.  A  composition  for  at  least  3  voices  in 
harmony-  without  accompaniment,  and.  for  equal 


Paspy— Patetico  105 


or  mixed  voices.  It  is  properly  a  melody  with 
choral  harmony,  with  any  reasonable  nixmber 
ot  voices  to  each  part. 

Paspy.     A  passepied. 

Passacaglia,  -glio  (It.,  pdhs-sah-cahKySh,  -y6h). 
An  old  Italian  dance  in  triple  time  and  stately 
movement,  written  on  a  ground  bass  of  4  mea- 
sures. 

Passage,  i.  A  portion  or  section  of  a  piece, 
usu;dly  short.— 2.  A  rapid  repeated  figure,  either 
ascending  or  descending.  A  scale-passage  is 
generally  called  a  run. 

Passamezzo  (It.,  pahs-sS.h-m§d'z6h).  An  old  Italian 
dance  in  duple  time,  like  the  Pavane,  but  faster. 

Passecaille  (Fr.,  pahs-cah'e).     Passacaglia. 

Passepied  (Fr.,  pahs-p'ya').  A  Paspy ;  an  old 
French  dance  in  3-8  or  6-8  time,  with  3  or  4 
reprises;  like  the  minuet  in  movement,  but 
quicker. 

Passing-notes  or  -tones.  Notes  or  tones  foreign  to 
the  chords  which  they  accompany,  and  passing 
by  a  step  from  one  chord  to  another.  They 
differ  from  suspensions  in  not  being  prepared, 
and  in  entering  (.usually)  on  an  unaccented  beat. 

Passion,  Passion-music.  A  musical  setting  of  a 
text  descriptive  of  Christ's  sufferings  and  death 
(passion).  [tSh).") 

Passionatamente   (It.,  pShs-se-Sh-nah-tah-men'- 

Passignato,  -a  (It.,  p^hs-se-6h-nah't6h,  -tih). 

Passione,  con  (It.,  kohn  pShs-se-oh'nfih). 
Passionately,  in  an  impassioned  style,  fervently. 

Pasticcio  (It.,  pShs-tit/choh).    t  j^   musical  medley 

Pastiche  (Fr.,  pShs-tesh').  ' 

ot  extracts  from  different  works,  pieced  together 
and  provided  with  new  words  so  as  to  form  a 
"new"  composition. 

Pas'toral,  i.  A  scenic  cantata  representing  pas- 
toral life  ;  a  pastoral  opera.— 2.  An  instrumental 
piece  imitating  in  style  and  instrumentation 
rural  and  idyllic  scenes. 

Pastorale  (It.,  pihs-tdh-rah'lfih).  I.  ^  pastoral. 

Pastorale  (Fr.,  pahs-tdh-rShl').      ' 

Pateticamente  (It.,  pSh- t6h  -  te  -  kilh  -  men' tSh). 
Paihelieally. 

Patetico,  -ca  (It.,  pdh-ta'te-koh,  -kill).     Pathetic. 


io6  Patimento — Pedal-tone 

Patimento  (It.,  pah-te-men'toh).  Suffering,  grief ; 
con  espressto?ie  di  pacimento,  with  mournful  or 
plaintive  expre.ssion. 

Paura  (It.,  pah-oo'rah).     Fear,  dismay. 

Pauroso  (It.,  pah-66-roh's6h).     Fearful,  timid. 

Pausa  (It.,  pah'oo-zah).  A  rest  ;  a  pause.../'a«j'<7 
luiiffay  long  pause  ;  pausa  generale^  pause  for  all 
performers. 

Pause.     I.  A  full  stop.— 2.  A  rest.— 3.  A  hold  (/Tv). 

Pavana  (It.,  pah-vah'nah).  ^  ^    stately    dance    of 

Pav'an(e).  ' 

Italian  or  Spanish  origin,  in  slow  tempo  and  alia 
breve  time. 

Paventato   (It.,   pah-ven-tah'toh).    /    Fearfully, 

Paventoso  (It.,  pah-ven-toh'soh).    f     timidly. 

Pearly.  A  style  of  piano-touch  producing  a  clear, 
round,  smooth  effect  of  tone,  especially  in  scale- 
passages. 

Pad.  Stands  for  Pedal ;  signifies  that  the  right 
(loud)  piano-pedal  is  to  be  pressed;  or  (in  organ- 
music)  that  notes  so  marked  are  to  be  played  on 
the  pedals. 

Ped'al.  I.  A  foot-key  on  the  organ  or  pedal-piano. 
— 2.  A  foot-lever ;  as  the  piano-pedals,  or  the 
organ  swell-pedal.— 3.  A  treadle,  like  those  used 
for  blowing  the  reed-organ. — 4.  A  stop-knob  or 
lever  worked  bv  the  foot  (organ).— 5.  A  contrac- 
tion for  Pedal-point. 

Pedale  doppio  (It.,  peh-dah'leh  do'pe-oh).  Pedal- 
part  in  octaves. 

Pedale  ogni  battuta  (It.,  peh-dah'leh  ohn'ye  b5.ht- 
too'tah).     "  Take  pedal  with  each  measure." 

Ped'alier  ( — ler).  A  set  of  pedals,  either  (i)  so  ad- 
justed as  to  play  the  low  octaves  of  the  piano, 
after  the  manner  of  organ-pedals,  or  (2)  provided 
with  separate  strings  and  action,  to  be  placed 
underneath  the  piano. 

Pedal-note.     See  PEDAL-TONE. 

Pedal-organ.  The  set  of  stops  controlled  by  the 
organ-pedals. 

Pedal-piano.  A  pianoforte  provided  with  a 
pedalier. 

Pedal-point.     An  organ-point. 

Pedal-tone.  A  sustained  or  continuously  repeated 
tone. 


Pedanteria,  con— Pezzi  107 

Pedanteria,  con  (It.,   k6hn  pSh-dShn-tSh-re'Sh).  | 

Pedantisch  (Ger.,  p5h-dahn'tish).  ) 

Pedantically  ;  in  an  even,  unemotional  style. 

Pel  (It.,  pel).  For  the  ;  as  pel  mandolino,  for  the 
mandolin. 

Pensiero  (It.,  pen-se-a'roh).  A  thought.  ..Penstero- 
rf'e'AA/)— ,  Souvenir  of —,  Recollections  of—. 

Pensieroso    (It.,    pen- se  -  eh  -  roh  '  s5h).  /  p        • 

Pensoso  (It.,  pen-soh'soh).  > 

thouK'htful. 

Pentaton'ic  scale.  A  5-tone  scale,  which  avoids- 
seniitonic  steps  by  skipping  the  4th  and  7th  de- 
grees in  major,  and  the  2d  and  6th  in  minor. 

Per  (It.,  per).  For,  by,  from,  in,  through.  ../V/* 
rorga)iOy  for  the  organ  ;  Fer  ilflauto  solo,  for  solo 
flute. 

Percussion,  i.  The  striking  or  sounding  of  a  dis- 
sonance.— 2,  The  striking  of  one  body  against 
another  .  .  .  Instruments  of  percussion  are  the 
drums,  the  tambourine,  cymbals,  bells,  triangle, 
etc.,  and  the  dulcimer  and  pianoforte. 

Percussion-stop.  A  reed-organ  stop,  which  strikes 
the  reed  a  smart  blow  when  sounding  it,  to  ren- 
der its  vibration  prompter  and  stronger. 

Percussive.     An  instrument  of  percussion. 

Perdendosi    (It.,    par-den'd6h-se).     Dying    away  ;. 

nwrendo   or    diminuendo,    together    (in    modern 

music)  with  a  slight  rallentando. 
Perduna.     Bourdon  (organ-stop). 
Perfect   intervals  are  the  standard  octave.  Fifth, 

and  Fourth. 
Perigordino  (It.,  peh-re-gor-de'n6h).  )_  ^^  ^j^  Flem- 
P6rigourdine  (Fr.,  pa-re-goor-den').  ^ 

ish  dance  in  6-8  time. 
Period.     A  complete  musical  thought  of  8  (la)  or  i6- 

measures,  ending  with  a  cadence. 
Perl6  (Fr..par-laO.  '  Pearly. 

Perlend  (Ger.,  par'lent).  ' 
Pesante    (It.,   pSh-sShn'tSh).     Heavy,    ponderous ; 

firm,  vigorous.  [/*-«,  a  little. 

Peu  a  peu  (Fr.,   po  Sh  po').     Little  by   little...  d/« 
Pezzi  (It.,  pet'se).     Pieces. .  ./'ess/  concertati,  con- 
certed   pieces  .  .  .  Pezzi  sfaccuti,    any   detached 

numbers  taken  from  an  opera,  etc. 


to8  Pezzo — Pibroch 


Pezzo  (It.,  pet'sSh).  A  piece ;  a  number  (of  an 
opera,  etc.)-  [tion. 

Phantasie    (Ger.,  fShn-tah-ze').     Fanc}',  imagina- 

Phantasiestiick  (Ger.,  fahn-tah-ze'sht«k).  A  fan- 
tasia ;  in  modern  music,  a  short  piece  of  a  roman- 
tic and  intensely  subjective  cast,  with  no  set  form. 

Phrase.  Half  of  an  8-measure  period.— Also,  any- 
short  figure  or  passage  complete  in  itself  and  un- 
broken in  continuity.  j-^f  ^  phrase. 

Phrase-mark.     A  curved  line  connecting  the  notes 

Phrasing,  i.  The  bringing-out  into  proper  relief 
of  the  phrases  (whether  motives,  figures,  subjects 
or  passages). — 2.  The  signs  of  notation  devised 

.  to  further  the  above  end. 

Piacere,  a  (It.,  ah  p'yah-cha'reh).  "At  pleasure  "; 
means  that  the  expression  of  the  passage  is  left 
to  the  performer's  discretion. 

Piacevole  (It.,  p'yah-cha'voh-leh).  Pleasant,  agree- 
able ;  calls  for  a  smooth,  suave  delivery,  free 
from  strong  accents. 

Piacevolezza,  con  (It.,  kohn  p'yah-cha-voh-let'- 
sah).    PIACEVOLE.  [Piacevole. 

Piacevolmente    (It.,    p'yah -cha  -  vohl- men  '  teh). 

Piacimento  (It.,  p'yah-che-men'toh).     PlACERE. 

Piangendo  (It.,  p'yahn-jen'doh).  ") 

Piangente  (It.,  p'vahn-jen'teh).  ,,„,. 

^-  ,   \t  ■-.   -,1  ,-,  N  P'Weepmg:, 

Piangevole  (It.,  — ja'voh-leh).  [  ^^     »» 

Piangevolmente  ( — ja-v6hl-men'teh).  J 
tearful!}'"  ;  in  a  mournful,  plaintive  style. 

Pianino  (It.,  pe-ah-ne'noh).  An  upright  piano- 
forte. 

Piano  (It.,  pe-ah'n6h).  Soft,  softly  (sign  p).  ..Piano 
pedal,  the  soft  or  left  pedal  of  the  pianoforte. 

Piano.     Familiar  abbreviation  of  Pianoforte. 

Pianoforte  (It.,  pe-Sh-noh-for'teh  ;  Engl,  pl-an'oh- 
fort).  A  keyboard  stringed  instrument  of  per- 
cussion, the  tones  being  produced  by  hammers 
striking  the  strings.  The  principal  parts  are  the 
frame,  the  Soundboard,  the  Strmj^s,  the  Action, 
and  the  Pedals.  The  hammer-action  was  first 
practically  developed  by  Bartolommeo  Cristo- 
fori  of  Padua  in  1711. 

Piatti  (It.,  p'ySht'te).     Cymbals. 

Pibroch  (pe'brSh).    Variations  for  the  bagpipe. 


Piccanteria,  con— Pitch  log 

Piccanteria,  con  (It.,  kohn  pik-kShn-t^h-re'Sh). 
With  piquant,  sprightly  expression. 

Picchettato  (It.,  pik-ket-tah'toh).  |_    Dej^^^hed 

Picchiettato  (It.,  pik-ke-et-tah'toh).    )  '  ' 

s/acca/o.     See  PIQUE. 

Piccolo  (It.,  pik'koh-ioh,  "little").  The  octave- 
flute,  a  small  flute  pitched  an  octave  higher  than 
the  orchestral  flute.  (The  Italians  call  it  Flauto 
piccolo^  or  Ottaviiio.) 

Pick.  To  pluck  or  twang  the  strings  of  a  guitar, 
mandolin,  etc. — Also  {noun),  a  plectrum. 

Piece.  I.  A  musical  composition.— 2.  An  instru- 
ment, taken  as  a  member  of  an  orchestra  or  band. 

Piece  (Fr.,  p'yess).  A  piece.  ..5"a//<?  de pieces,  a  set 
of  pieces. 

Pieno  (It.,  p'ya'noh).     i.  Full. — 2.  A  mixture-stop. 

Pietosamente  (It.,  pe-eh-t6h-s3,h-men't6h).  I  ,ip-.j 

Pietoso  (It.,  pe-eh-toh's6h).  * 

fuUly),  moving(ly)"  ;  demands  a  sytnpathetic  and 
expressive  delivery. 

Piffero  (It.,  pif'feh-roh).  i.  A  fife  ;  also,  a  primi- 
tive kind  of  oboe  or  shawm.— 2.  Same  as  BikarA. 

Pince  (Fr.,  p3.n-sa').  i.  Plucked  ;  as  the  strings  of 
the  harp. — 2.  Pizzicato  (in  violin-playing). 

Pipe.  I.  A  rude  flageolet  or  oboe.— 2.  An  organ- 
pipe  ;  in  Fltie-pipes  X.\\e  tone  is  produced  by  the 
vibration  of  a  column  of  air  within  a  tube  or 
body  ;  they  are  f/i^«  or  covered  {stopped,  pliij^ged)^ 
a  stopped  pipe  yielding  a  tone  an  octave  lower 
than  an  open  pipe  of  like  length.— In  Reed-pipes 
the  tone  is  produced  by  a  reed. 

Piqud  (Fr.,  pe-ka').  In  violin-playing,  the  mezzo- 
-staccato  called  for  by  a  slur  with  staccato  dots  ; 
notes  so  marked  to  be  played  in  one  bow  {picchi* 
etfato-). 

Piston.    See  Valve. 

Pitch.  The  position  of  a  tone  in  the  musical  scale. 
Pitch  is  relative,  or  absolute.  The  relative  pitch 
of  a  tone  is  its  position  (higher  or  lower)  as  com- 
pared with  .some  other  tone.  (See  Interval.) 
Its  absolute  pitch  is  its  fixed  position  in  the  entire 
range  of  musical  tones. 

To  indicate  absolute  pitch,  the  musical  scale  is 
divided  into  a  fixed  series  of  octaves,  named  and 
lettered  as  on  p.  v,  "  Elements  of  Nidation." 

The  number  of  vibrations  made  by  a  tone,  es- 
tablishes  its  absolute  pitch  ;  the  standard  French 


Pitch-pipe — Plus 


pitch  (also  called  Internatio^ial,   or  low^  pitch) 


gives  the  tone  a^     A     ^    :    435     double    vibra- 


te 

tions  per  second.  The  so-called  Coticert-pitck^ 
or  high  pitch,  much  in  vogue  formerly  in  con^ic 
operas,  was  sometimes  a  tone  (or  even  more) 
higher  than  French  pitch. 

'Pitch-pipe.  A  small  wooden  or  metal  reed-pipe 
which  sounds  one  or  more  tones  of  fixed  pitch,  to 
give  the  tone  for  tunmg  an  mstrument,  or  for  a 
choir. 

■Piu  (It.,  pew).  More.— "When  fiu  stands  alone,  as 
a /^w/i?-mark,  mosso\?,  implied;  as  an  expression- 
mark,  it  refers  to  the  next-preceding /"or  p... 
Fiu  niosso,  piii  moto^i&?>i^v ..  .Piii  mosso  ancora, 
still  faster. . .  Con  un  poco  piu  di  tnoto,  with  a  little 
more  movement  (that  is,  somewhat  faster). 

Pizzicato  (It.,  pit-se-kah'toh).  "Pinched  ";  plucked 
with  the  finger;  a  direction,  in  music  for  bow- 
instruments,  to  play  the  notes  by  plucking  the 
strings.   ( Abbrev. //zz.) 

Placidamente  (It.,  plah-che-d3,h-men'teh).  '  piop-^i 

Placidezza,  con  (kohn  plah-che-det'sah).     ' 
ly,  tranquilly. 

Placido  (It.,  plah'che-doh).     Placid,  smooth. 

Placito  (It.).     See  A  bene  placito. 

Plagal  cadence.     See  Cadenxe. 

Plagal  mode.     See  AUTHENTIC  MODE. 

Plain  Chant,  Plain  Song.  The  unisonous  vocal 
music  of  the  Christian  Church,  probably  dating 
from  the  first  centuries  of  the  Christian  era,  the 
style  being  still  obligatory  in  the  R.  C.  ritual. 

Plectrum  (Latin).  A  pick  ;  a  small  piece  of  ivory, 
tortoise-shell,  or  metal,  held  between  the  forefin- 
ger and  thumb,  or  fitted  to  the  thumb  by  a  ring, 
and  used  to  pluck  or  twang  the  strings  of  the 
mandolin,  zither,  etc. 

Plain  (Fr..  plan).     Full. 

Plein-jeu  (Fr.,  plan-zho').  i.  A  stop  or  combina- 
tion of  stops  bringing  out  the  full  power  of  the 
organ,  harmonium,   etc.— 2.  Same    as    FOURNI- 

TURE. 

Pluperfect,     Augmented  (of  intervals). 
Plus  (Fr.,  plii).     More. 


Po'— Pomposo 


Po'  (It.,  p6 ;  contraction  of  poco).  'L\tt\e ...  Con 
un  po'  d'espansione,  with  a  certain  display  of  emo- 
tion. ..Aizando  itn  po'  la  voce,  raising  the  voice  a 
little..  .Ritenendo  un po\  becoming  a  trifle  slower. 

Poco   (It.,  po'koh).      Little -1  poco  a  poco,    little 

by  ViX.x.\e...Poco  allegro,  rather  ia.sX. . . .  Poco  largo, 
rather  slow... Poco  meno  ;  when  standing  alone 
as  a  tempo-mark,  mosso  is  implied  ;  i.  e.,  poco 
7neno  7nosso,  a  little  less  fast  (a  little  slower)... 
i^fr<?//«,  standing  alone,  also  implies  jnosso  ("" 9. 
little  faster  "). . .  Poco  pin  leu  to  della  prima  volta^ 
somewhat  slower  than  the  first  time. 

Poi  (It.,  po'e).     Then,  thereafter. 

Pointe  (Fr.,  pwan't).  i.  Point  or  head  of  a  bow.— 
2.    1  oe  (abbrev.  p.'). 

Polacca  (It.,  poh-lahk'kah).  A  Polonaise... ^//a 
polacca,  in  the  style  of  a  Polonaise. 

Polca  (It.,  pol'kah).     Polka. 

Polka  (pol'kah  ;  Bohemian  piilkd).  A  lively  round 
dance  in  2-4  time,  originating  about  1830  as  a 
peasant-dance  in  Bohemia. 

Polka-mazurka.  A  form  of  mazurka  accommo- 
dated to  the  steps  of  the  polka. 

Polonaise  (Fr.,  p6h-16h-naz').     A  dance  of  Polish 
origin,  in  3-4  time  and  moderate  tempo  ;  formerly 
in  animated  processional  style,  but  now  merely  a 
slow  promenade  opening   |  ^      ««   m   m   m   m\ 
a  ball.     Rhythm:  |  ^      _  '     |» 


last  measure 


\m      m   t 


I     -  1 


Polonese  (^It.,  pSh-loh-na'z^h).    Same  as  POLACC.\. 

Polymorphous  counterpoint.  Counterpoint  per- 
mitting of  great  variation  of  the  theme. 

Polyphon'ic.  i.  Consisting  of  2  or  more  independ- 
ently treated  parts;  contrapuntal;  concerted.— 
2.  Capable  of  producing  2  or  more  tones  simul- 
taneously, like  the  piano,  harp  or  organ. 

Polyph'ony.  The  combination  in  harmonious  pro- 
gression of  2  or  more  independent  parts  ;  the 
independent  treatment  of  the  parts;  counter- 
point, in  the  widest  sense  ;  concerted  music. 

Pompa,  con  (It.,  k6hn  pdhm'pSh).  > 

Pomposamente     (p5hm-poh-sah-men't5h).  ^   Pom- 

Pomposo  (It.,  p5hm-poh's6h).  ' 

pously,  loftily  ;  in  a  majestic,  dignified  style. 


Ponderoso— PrSchtig 


Ponderoso    (It.,    p6hn-deh-roh's6h).      Ponderous  J 

in  a  vigorous,  impressive  style. 
Ponticello   (It.,  pohn  -  te  -  chel'loh).      Bridge.— Sul 

ponticello^  near  the  bridge. 
Portamento  (It.,  por-tah-men'toh).   A  smooth  glid- 
ing from  one  tone  to  another;  differing  from  the 

legato  in  its  more  deliberate  execution,  and  in 

the    actual    (though    very    rapid    and    slurring) 

sounding  of  the  intermediate  tones. 
Portando    (It.,   por-tahn'doh).     "Carrying";  i.e., 

the  portamento  ^^^cX...  For  tan  do  la  voce,  vocal 

portamento. 
Portate    la    voce    (It.,   por-tah'teh  lah  voh'cheh). 

•'Carry  the  voice,"  that  is,  sin^ portamento. 
Portunal    flute.     A   flute-stop   on  the  organ,  with 

open  (seldom  stopped)  wooden  pipes  wider  at  top 

than  at  the  mouth. 
Posato  (It.,  poh-sah'toh).     Sedate,  dignified. 
Posaune  (Ger.,  poh-zow'ne).    Trombone.    Also,  a 

reed-stop  in  the  organ,  of  8-foot  pitch  (manuals) 

or  i6-foot  pitch  (pedal). 

Position,  r.  The  place  of  the  left  hand  on  the  fin- 
gerboard of  the  violin,  etc.  In  the  ist  position, 
the  forefinger  stops  the  tone  (or  semitone)  above 
the  open  string  ;  by  shifting  up,  so  that  the  ist 
finger  takes  the  place  previously  occupied  by 
the  2d,  the  2d  position  is  reached  ;  and  so  on. 
In  the  half-position  the  2d,  3d  and  4th  fingers  oc- 
cupy the  places  taken,  in  the  ist  position,  by 
the  ist.  2d  and  3d  fingers.— 2.  The  arrangement 
of  notes  in  a  chord,  with  reference  to  the  lowest 
part;  in  the  ist,  or  fundamental  position,  the 
lowest  part  takes  the  root ;  in  the  2d,  it  takes  the 
third;  etc.— 3.  Close  (open)  position,  see  Har- 
mony, close  3.nd  open. 

Possibile  (It.,  pohs-se'be-leh).  Possible  ;  pianissi- 
mo possidile,  as  soft  as  possible  ;  il piii  presto  pos- 
sibile,  as  rapid  as  possible.  [^n  post-coaches. 

Post'-horn.     A  horn  without  valves  or  keys,  used 

Post'lude.     A  closing  voluntary  on  the  organ. 

Posto,  di  (It.).     See  Sl.axcio. 

Pot-pourri  (Fr.,  p6h-po6-re').  A  musical  medley, 
all  kinds  of  tunes,  or  parts  of  tunes,  being  con- 
nected in  an  arbitrary  manner. 

Pousse  (Fr.,  p66s-sa').     Up-bow.  rallr. 

PrSchtig    (Ger.,   preyh'tiyh).     Grandly,  majestio-^ 


Praeludium— Prime  113 

Praelu'dium  (Latin).    Prelude. 

Precedente  (It.,  pr5h-chSh-den't$h).  Preceding. 
...AIo/o precedence,  in  the  preceding  tempo. 

Precen'tor.  A  director  and  manager  of  the  choir, 
and  of  the  musical  services  in  general. 

Precipitando    (It.,    preh-che-pe-tahn'd6h).  1 

Precipitatamente  (— tah-tSh-men'teh).  I    yjj... 

Precipitate  (It.,  — tah'toh).  [ 

Precipitoso  (It.,  ^toh'soh).  J 

precipitation,  impetuosity,  dash. 

Precisione,   con    (It.,   pr6h-che-ze-oh'neh).    /   \V[rh 

Precise  (It.,  preh-che'zoh).  i 

Precision.  for  drama. 

Prel'ude.    A  musical  introduction  to  a  composition 

Preludio  (It.,  preh-loo'de-6n).     Prelude. 

Preparation.  The  preparation  of  a  dissonance 
consists  in  the  presence,  in  the  preceding  cliord 
and  same  part,  of  the  tone  forming  the  dis- 
sonance. 

Pressando  (It.,  pres-sahn'd6h).  I  Pressing  on,  ac- 

Pressante  (It.,  pres-sahn'teh).      'i     celerating. 

Pressez  (Fr.,  pres-sa')-     Accelerate  ;  go  faster. 

Prestamente   (It.,  preh-st3.h-men'teh).     Rapidly. 

Prestant  (Fr.,  pres-tahn').  An  open  flue-stop, 
usually  of  4-foot  pitch;  equivalent  to  English 
J^rtncipal. 

Prestezza,  con  (It.,  k6hn  prgh-stet'sSh).  With 
rapidity. 

Prestissimamente  (It.,  preh-stis-se-m3,h-men'teh).  \ 

Prestissimo  (It.,  preh-stis'se-moh).  ' 

Very  rapidly. 

Presto  (It.,  pra'stSh).  Fast,  rapid ;  faster  than 
allei^ro... Presto  assat\  very,  extremely  rapid... 
Presto  farlante,  "speaking  rapidly  (volubly)"; 
a  direction  in  recitatives,  etc. 

Prima.    See  PrimO. 

Pri'mary  accent.  The  down-beat,  or  thesis ;  the 
accent  beginning  the  measure,  directly  follow- 
ing the  bar. 

Pri'mary  triad.  One  of  the  3  fundamental  triads 
of  a  key  (those  on  the  ist,  5th  and  4th  degrees). 

Prime.     The  first  note  of  a  scale. 


XI4  Primo— Pronunziato 

Primo,  -a  (It.,  pre'moh,  -mah).  First. .  .Prima  buf- 
fa^  leading  lady  in  comic  opera. .  .Prima  doftfia^ 
leading  lady  in  opera. .  .Priynavista,  at  first  sight. 
...Prima  volta,  the  first  time  (written  J?fia  volta^ 
or  simply  /,  or  /)  ;  indicates  that  the  measure  or 
measures  under  its  bracket  are  to  be  played  the 
first  time,  before  the  repeat  ;  whereas,  on  repeat- 
ing, those  marked  Seconda  volta  (or  I  Ida  volta,  or 
//,  or  2)  are  to  be  performed  instead. 

Primo  (It.).     A  first  or  leading  part,  as  in  a  duet. 

Principal.  In  the  organ,  a  stop  of  open  metal  flue- 
pipes  of  4-foot  pitch  on  the  manuals  and  8-foot 
pitch  on  the  pedal.    (See  Prinzipal.) 

Principal  chords.  The  basic  chords  of  a  key — the 
triads  on  the  tonic,  dominant,  and  subdominant, 
with  the  dominant  seventh-chord. 

Principal-work.     See  STOP  (noun)  2. 

Principio(It.,prin-che'pe-6h).  Beginning,  first  time. 
...In  principle,  at  the  beginning. .  ./•/«  ?narcato 
del principio,  more  marked  than  the  first  time. 

Prinzipal  (Ger.,  prin-tse-pahl').     Open  Diapason. 

Processional.  A  hymn  sung  in  church  during  the 
entrance  of  choir  and  clergy. 

Program-music.  A  class  of  instrumental  composi- 
tions intended  to  represent  distinct  moods  or 
phases  of  emotion,  or  to  depict  actual  scenes  or 
events;  sometimes  called  "  descriptive  music." 

Progress.  To  advance  or  move  on  :  in  melody,  from 
one  tone  to  another  ;  in  hartnojiy,  from  one  chord 
to  another. 

Progression.  The  advance  from  one  tone  to 
another,  or  from  one  chord  to  another  ;  the  former 
is  7iielodic,  the  latter  harvionic^  progression. 

Progressive  composition.  In  song-writing,  the 
setting  each  strophe  to  different  music,  follow- 
ing the  changing  mood  more  closely  than  in  the 
ballad  or  folk-song,  where  melody  and  harmony 
are  generally  the  same  for  each  verse. 

Progressive  stop.  A  compound  organ-stop  in 
which  the  number  of  ranks  increases  as  the  pitch 
rises. 

Prontamente   (It.,  prohn-tah-men'teh).  /  Promptly, 

Pronto  (It.,  prohn'toh).  f  swiftly. 

Pronunziato  (It.,  proh-noon-tse  -  ah'toh).  Pro- 
nounced, marked  ;  beti  pronunziato^  well,  clearly 
enunciated. 


Psaltery— Quasi  115 


Psaltery  fsol'ter-!).  An  ancient  instrument  in  use 
to  the  17th  century;  known  to  the  Hebrews  as  the 
Kinnor,  to  the  Germans  as  the  Rotta;  a  kind  of 
harp-zither,  with  a  varying  number  of  strings 
plucked  by  the  fingers  or  with  a  plectrum. 

Pul'satile  ( — til)  instruments.  Instruments  of  per* 
cussion. 

Pulse.  A  beat  or  accent. 

Punta.  (It.,  p5on'tah).  Point  (of  fhe  bow).., 
Colla  punta  dell'arco,  at  the  point  of  the  bov/. 

Pyramid'on.  An  organ-stop  having  short  covered 
pipes  more  than  4  times  as  w^ide  at  top  as  at 
mouth,  and  of  i6'  or  32'  tone. 


Quadrille  (kwo-dril')-  A  square  dance  consisting 
of  5  (or  6)  figures  named  le  Pantalon,  I'Ete,  la 
Poule,  la  Pastotirelle  {la  Trenise),  and  la  Finale. 
The  time  alternates  between  3-8  (6-8)  and  2-4. 

Quadruple  counterpoint.     See  COUNTERPOINT. 

Quadruple  rhythm  or  time.  That  characterized 
\>Y  4  beats  to  the  measure. 

Quad'ruplet.    A  group  of  4  equal  notes,  to  be  exe« 

cuted  in  the  time  of  3  or  6  of  U 

the  same  kind  in  the  regular    "y^-^— '^     ^-»~ 
rhythm;  written:  ^^!""}      ^^^^    j -^ 

Quality  of  tone.  That  characteristic  peculiarity  of 
any  vocal  or  instrumental  tone  which  distin- 
guishes it  from  the  tone  of  any  other  class  of 
voices  or  instruments.  Also  called  Tone-color^ 
Timbre. 

Quart.     The  interval  of  a  Fourth. 


Quarter-rest.      A   rest   equal   in  time-value  to    a 

quarter-note  (  5fi  or  r). 
Qu=irteti,te).      i.  A  concerted  instrumental  compo* 

sition    for   4  performers,   in   symphonic    form. — ■ 

2.  A  composition,   movement,  or  number,  either 

vocal  or  instrumental,  in  4  parts. 

Quartole.       U  quadruplet. 

Quartuplet.  ' 

Quasi  (It.,  kwah'ze).     As  if;   as  it  virere  ;   neatly  | 

approaching. . .  Andante  quasi  allegretto,  andantfe 

approaching  allegretto. 


ii6  Quatre— Raddolcente 

Quatre  (Fr.,  kah'tr).  I  p^^^^ 

Quattro  (It.,  kwaht'troh).  )  *        [instrumental. 

Quatuor  (Fr.,  kwah-t«-or').    A  quartet,  vocal   or 

Quaver.     An  eighth-note. 

Quindecima  (It.,  kwin-da'che-mah).  A  Fifteenth 
(either  the  interval  or  the  organ-stop). .  .Alia  quin- 
decima (written  simply  /jwa>,  two  octaves  higher 
(or  lower). 

Quint.  I.  The  interval  of  a  Fifth.— 2.  A  5^-foot 
organ-stop,  sounding  a  fifth  higher  than  the  nor- 
mal 8-foot  pitch. — 3.  The  .£"-string  of  the  violin. 

Quintade'na.  An  organ-stop  of  small,  stopped 
metal  pipes,  in  whose  tone  the  Twelfth  (2d  har- 
monic) is  prominent. 

Quintaton  (Ger.,  kvin-tah-ton').  In  the  organ,  a 
covered  flue-stop  of  8-,  16-,  or  32-foot  pitch. 

Quintet(te).  i.  A  concerted  instrumental  composi- 
tion for  five  performers,  in  symphonic  form.— 
2.  A  composition,  movement,  or  number,  vocal 
or  instrumental,  in  five  parts. 

Quintole.     A  quintuplet. 

Quintuor  (P>.,  kan-ti^-or').     A  quintet.  [ure. 

Quintuple  rhythm,  time.    Has  5  beats  to  the  meas- 

Quintuplet.  A  group  of  5  equal  notes  to  be  ex- 
ecuted   in    the    time    of    4    of    the  5 

same  kind  in  the  regular  rhythm  ;  r""^^^^^ 
written  :  m   m  m   m   m 

Quitter  (Fr.,  ke-ia').    To  qnit,  leave. .  .Sans  quitter 

la  corde,  without  quitting  the  string.        [concert. 

Quodlibet.     A  musical  medley  ;  pot-pourri ;  Dutch 


R.    Stands  for  right  (Ger.  rechfe) ;  r.  h.,  right  hand 

{rechte  Hand).    In  French  organ-music  R  stands 

for  clavier  de  recit  (swell  manual). 
Rabbia,  con  (It.,  kohn  rahb'be-ah).     With  passion, 

frenzy  ;  furiously. 
Raccoglimento,  con  (It.,  kohn  rahk-kohl-ye-men'- 

toh).     Collectedly,  coolly  ;  meditatively. 
Raccontando(It.,  rahk-kohn-tahn'doh).  Narrating; 

as  if  telling  a  story. 
Raddolcendo  (It.,   rahd-dohl-chenMoh).  \  Growing 
Raddolcente  (It.,  rahd-dohl-chen'teh).      i" 

calmer  and  gentler. 


Raddolcito— Recht  117 

Raddolcito(It.,rahd-d6hI-che't6h).  Gentler, calmer. 

Radiating  pedals.  A  pedal-keyboard  with  the 
pedals  set  in  fan-shaped  arranj2:ement,  spreading 
out  to  the  rear,  and  concave  (.somewhat  higher  at 
the  sides). 

Radical  bass.     Fundamental  bass,  root  of  a  chord. 

Radical  cadence.  See  CADENCE, 

Rallentamento  (It.,  rahl-len-ta.h-men't6h).  A  slack- 
eninij  in  tempo.  [slower  and  slower. 

Rallentando    (It.,  rShl -len -tahn'd6h).      Growing 

Rallentare  (It.,  rShl-len-tah'rgh).  To  grow  slower; 
senza  rallentare,  without  slackening  the  pace. 

Rallentate  (It.,  rShl-len-tah'teh).     Go  slower. 

Rallentato  (It.,  rihl-len-tah'toh).   At  a  slower  pace. 

Rank.  A  row  of  organ-pipes.  A  mixture-stop  is 
said  to  have  2,  3.  or  more  ranks,  according  to  the 
number  of  pipes  sounded  by  each  digital  (key). 

Rant.     An  old  country-dance,  or  a  reel. 

Ranz  des  vaches  (Fr.,  rShns  da  vSh'sh).  One  of  the 
airs  sung,  or  played  on  the*alpine  horn,  in  the 
Swiss  Alps  as  a  call  to  the  cattle. 

Rapidamente  (It.,  rSh-pe-dSh-men'teh).  \  wjth 

Rapidita,  con  (It.,  kohn  r5.h-pe-de-tah').  ,- rapidity, 

Rapido  (It.,  rSh'pe-doh).  )  rapidly. 

Rasch  (Ger.,  rShsh).  Fast,  rapid,  &w\H...N'och 
rascher,  still  f aster... ^c?  rasch  wie  moj^lich,  as 
fast  as  possible. 

Rattenendodt.).  /  g^^  RitenenDO,  RitenuTO. 

Rattenuto  (It.).     > 

Rauschquinte  (Ger.,  rowsh'kvin'tS).  A  mixture- 
stop  of  2  ranks.  (Also  Rauschflote,  -pfei/e^  'guar- 
te.  -'verk.)  [celerating  the  tempo. 

Ravvivando  il  tempo  (It.,  rShv-ve-vShn'dcSh).  Ac- 
Ray  stands  for  Re.  in  Tonic  Sol-fa. 

Re  (It.,  ra).  ^  second  of   the    Aretinian    sv'lables, 

R6  (Fr.,  ra\  > 
and  the  name  of  the  note  D  in  France,  Italy,  etc. 

Re'bec.  A  medieval  violin,  shaped  like  a  half- 
pear,  with  3  gut  strings. 

Recessional.  A  hymn  sung  in  church  during  the 
departure  of  choir  and  clergy  after  a  service. 

Recht  (Ger.,  rSyht).  Right  ;  rechte  Hand,  right 
hand. 


fi8  Recital— Reed-pipe 

Reci'tal.  A  concert  at  which  either  (a)  all  the 
pieces  are  executed  by  one  performer,  or  (d)  all 
pieces  performed  are  by  one  composer. 

Recitando  (It.,  rehche-tahn'doh).  /  In  declamatory 

Recitante  (It.,  reh-che-tahn'teh).  >     style. 

Recitative  (res'i-ta-tev').  Declamatory  singing, 
free  in  tempo  and  rhythm. 

Recitatif  (Fr.,  ra-se-tah-tef).  \ 

Recitativ  (Ger.,  ra-tse-tah-tef).  > Recitative. 

Recitative  (It.,  reh-che-tah-te'voh). ' 

Recitative.  In  piano-playing,  calls  for  a  crisp  de- 
livery of  the  melody,  free  in  tempo  and  rhythm. 

Reciting-note.  The  tone  on  which  most  of  each 
verse  in  a  chant  (psalm  or  canticle)  is  continu- 
ously recited  ;  the  dominant. 

Redoubled  interval.     A  compound  interval. 

Red'owa.  A  Bohemian  dance,  like  the  Mazurka, 
though  less  strongly  accented,  in  3-4  time  and 
lively  tempo. 

Reduce.  In  organ-music,  a  direction  to  decrease 
the  volume  of  tone  by  retiring  the  louder  stops. 

Reduction.  Rearrangement  of  a  composition  for 
a  smaller  number  of  instruments,  while  preserv- 
ing its  form  as  far  as  possible. 

Redundant.     Augmented. 

Reed.  A  thin  strip  of  cane,  wood,  or  metal,  so  ad- 
justed before  an  aperture  as  nearly  to  close  it, 
fixed  at  one  end,  and  set  by  an  air-current  in  vi- 
bration, which  it  communicates  either  to  an  en- 
closed column  of  air  (organ-pipe,  oboe),  or  direct- 
ly to  the  free  atmosphere,  thus  producing  a 
musical  tone.  A  /^'ree  reed  vibrates  within  the 
aperture  without  striking  the  edges  ;  a  Beating 
reed  strikes  on  the  edges.  A  Double  reed  is  two 
beating  reeds  which  strike  against  each  other. 

Reed-instrument.  One  whose  tone  is  produced  by 
the  vibration  of  a  reed  in  its  mouthpiece. 

Reed-organ.  A  keyboard  instrument  whose  tones 
are  produced  by  free  reeds  ;  {a)  the  Har7nonium 
(invented  1843  by  A.  Debain  of  Paris),  the  bellows 
forcing  compressed  air  outward  through  the 
reeds  ;  {b)  the  American  organ^  in  which  a  suction- 
bellows  draws  the  air  i7i  through  them.  Either 
style  has  a  variety  of  stops  of  different  quality. 

Reed-pipe.     See  PIPE. 


Reed-work— Reprise  X19 

Reed-work.     See  Stop  (noun)  2. 

Reel.     A  lively  dance  of  Scotland    and   Ireland, 

usually  in  4-4  (sometimes  6-4)  time,  with  reprises 

of  8  measures  ;  danced  by  2  couples. 
Refrain.     A  BURDEN  i. 
Register,     i.  A  set  of  pipes  or  reeds  controlled  by 

one  draw-stop  ;  a  stop  (organ-stop).— 2.  A  portion 

of  the  vocal  compass  :   as   high  or  loiv  register  ; 

chest-  or    //fadf'-register. — 3.     A    portion,   in  the 

range  of  certain  instruments,  differing  in  quality 

from  the  other  portions. 
Registration,     i.  The  art  of  effectively  employing 

and  combining  the  various  stops  of  the  organ. — 

2.  The  combinations  of  stops  employed  for  any 

given  composition. 
Relation(ship).      The  degree  of  affinity  between 

keys,  chords,  and  tones. 

Relative  key.  A  minor  key  is  relative  to  that  ma- 
jor key,  the  tonic  of  which  lies  a  minor  Third 
above  its  own  ;  a  major  key  is  relative  to  that 
minor  key,  the  tonic  of  which  lies  a  minor  Third 
below  its  own. 
Religiosamente  (It.,  rSh-le-j6h-sah-men'tSh).  I  j^  ^ 
Religioso  (It.,  r6h-le-joh's5h).  ) 

devotional  style. 

Remote  key.    An  unrelated  key. 

a.  6.  c. 


Repeat,    i.    The  sign:   :r[pi=|E 


a  signifying  that  the  music  between  the  double- 
dotted  bars  is  to  be  repeated  ;  b  and  r,  that  the 
preceding  and  also  the  following  division  is  to  be 
repeated. — 2.  A  section  or  division  of  music  which 
is  repeated. 

Repercussion,  i.  Repetition  of  atone  or  chord. ^ 
2.  In  a  fugue,  the  regular  reentrance  of  subject 
and  answer  after  the  episodes  immediately  fol- 
lowing the  exposition. 

Repetizione  (It.,rSh-p6h-te-tse-oh'n6h).  See  RlPK- 
tizio.np:. 

Replica  (It.,  ra'ple-kaii).  A  repeat  or  reprise... 
Da  capo  senza  replica,  play  from  beginning 
without  observing  the  repeats. 

Reprise  (Fr.,  ru-prez').  i.  A  Repeat  2.-2.  The  re- 
vival of  a  work.— 3.  Break  3—4.  Refercussiom 


Requiem — Rhapsodic 


2.-5.  Reentrance  of  a  part  or  theme  after  a  rest 
or  pause. 

Re'quiem.  The  first  word  in  the  Mass  for  the 
dead  ;  hence,  the  title  of  the  musical  setting  of 
that  Mass.  Its  divisions  are  (i)  Requiem,  Kyrie, 
(2)  Dies  irae.  Requiem,  (3)  Domine  Jesu  Chr'iste, 
(4)  Sanctus,  Benedictus,(5)Agnus  Dei,  Lux  aeterna. 

Resolution.  The  progression  of  a  dissonance, 
whether  a  simple  interval  or  a  chord,  to  a  con- 
sonance. Direct  resolution  is  immediate  progres- 
sion from  the  dissonance  to  the  consonance  ;  In- 
direct (or  delayed^  deferred,  retarded)  resolution 
passes  through  some  intermediate  dissonance  or 
dissonances  before  reaching  the  final  restful 
consonance. 

Res'onance-box  (rez'-).  A  hollow  resonant  body 
like  that  of  the  violin  or  zither. 

Response,  i.  Responsory. —  2.  Answer. —  3.  The 
musical  reply,  by  the  choir  or  congregation,  to 
what  is  said  or  siing  by  the  priest  or  officiant. 

Responsory.  i.  That  psalm,  or  part  of  one,  sung 
between  the  missal  lessons.— 2.  The  Gradual.— 
3.  A  Respond  ;  that  is,  a  part  of  a  psalm  (formerly 
an  entire  psalm)  sung  between  the  lessons  at  the 
canonical  hours. 

Rest.  A  pause  or  interval  of  silence  between  two 
tones  ;  hence,  the  sign  indicating  such  a  pause. 
(See  Elem.  of  Notation.) 

Restez  (Fr.,  res-ta').  "Stay  there!"  In  music  for 
bow-instruments  this  direction  means  (a)  "Play 
on  the  same  string,"  or  {p)  "Remain  in  the  same 
position  (shift)." 

Retardation,  i.  A  holding-back,  decreasing  in 
speed.— 2.  A  suspension  resolving  upward. 

Retarded  progression.  A  suspension  resolving 
upward. 

Retarded  resolution.     See  RESOLUTION. 
Reveil  (Fr.,  ra-va'c").  »  ^^^  Reveille  (re-val'. 

Reveille  (Ger.,  ra-vel'yS).  ' 
ye),  or  military  signal  for  rising. 

Reverse'  motion.     Contrary  motion. 

Reversion.     Retrograde  imitation. 

Rhapsodic  (Fr.,  rahp-s6h-de').  A  Rhapsody  ;  gen- 
erallv  an  instrumental  fantasia  on  folk-songs  or 
on  motives  taken  from  primitive  national  music. 


Rhythm— Ripieno 


Rhythm.  The  measured  movement  of  similar 
tone-groups  ;  that  is,  the  effect  produced  by  the 
systematic  j^^rouping-  of  tones  with  reference  to 
regularity  both  in  their  accentuation  and  in  their 
successi(jn  as  equal  or  unequal  m  time-value.  A 
Rhythm  is,  therefore,  a  tone-group  serving  as  a 
pattern  for  succeeding  identical  groups. 

Ribattuta  (It..  re-bSht-too'tah).  i.  A  Beat  3.-2.  A 
device  for  beginning  a  trill  by  dwelling  longer  on 
the  principal  tone  than  on  the  auxiliary. 

Ribs.  The  curved  sides  of  the  violin,  etc.,  con- 
necting belly  and  back. 

Rig'adoon'.  A  lively  French  dance,  generally  in 
4-4  time  (sometimes  2-2,  rarely  6-4)  with  an  auf- 
takt  of  a  quarter-note  ;  it  consists  of  3  or  4  re- 
prises. 

Rigaudon  (Fr.,  re-goh-dohn').   ) 

Rigodino  (It.,  re-goh-de'noh).   v  A  Rigadoon. 

Rigodone  (It.,  re-goh-doh'neh).  ' 

Rigor  (It.,  re-gohr').        \^i^oT,  strictness...^/ (or 
Rigore  (It.,  re-goh'reh).  ' 

coti)  rij^ofe  dt   tempo  (or  a  rigor  di    tempd)^  in 

strict  time. 

Rigoroso  (It.,  re-g6h-roh'soh).     In  strict  time. 
Rilasciando  (It.,  re-lah-shahn'doh).  \  R.ALLENTAN- 
Rilasciante  (It.,  re-lah-shShn'tgh).     f     DO. 
Rimettendo  (It.,  re-met-ten'dQh).  \  ..  Resuming"  a 
Rimettendosi  (It.,  — ten'doh-se).     ' 

preceding  tempo,  whether  after  accelerating  or 

retarding. 

Rinforzando  (It.,  rin-for-t.sShn'dSh).  )  ^yj^j^  special 

Rinforzato  (It.,  rin-for-tsah't5h).         ' 
emphasis;  indicates  a  sudden   increase  in  loud- 
ness, either  for  a  tone  or  chord,  or  throughout  a 
phrase  or  short  passage. 

Rinforzare,  senza  (It.,  sen'tsSh  rin-for-tsah'rShX 
Without  growing  louder. 

Ripetizione  (It.,  re-peh-te-tse-oh'n5h).    Repetition. 

Ripieno  (It.,  re-p'ya'noh).  "Filling  uo";  "sup- 
plementary." I.  A  ripieno  part  is  one  reinforc- 
ing the  leadingorchestral  parts  bvdoubling  them 
or  bv  filling  in  the  harmony.— 2.  In  scores,  ripie- 
no is  a  direction  calling   for  the  entrance  of  the 


Ripigliando— Robusto 


full  string-band  (or,  in  military'  music,  the  clari- 
nets, oboes,  etc.).— 3-  A  combination-stop  draw- 
ing all  registers  of  any  given  manual. 

Ripigliando  (It.,  re-pel-yahn'doh).     Resuming. 

Ripigliare  (It.,  re-pel-yah'reh).    To  resume. 

Riposatamente  (It.,  re-p6h-sah-tah-men'teh)_  \ 

Riposato  (It.,  re-poh-sah'toh).  vIna 

Riposo,  con  (It.,  kohn  re-p6's6h).  ' 

calm,  tranquil  manner  ;  reposefully. 

Riprendendo  (It.,  re-pren-den'doh).  Resuming; 
j-iprendendo  poco  a  poco  il  tempo,  gradually  re- 
gaining the  preceding  rate  of  speed. 

Riprendere  (It.,  re-pren'deh-reh).  To  resume; 
string-endo  per  ripj-endere  il  lo  tempo,  hastening, 
in  order  to  regain  the  former  tempo. 

Risentito  (It.,  re-sen-te'toh).    Energetic,  vigorous  ; 

expressive. 
Risolutamente  (It.,  re-s6h-166-tah-men'teh).  ") 

Risolutezza,  con  (It.,  kohn  re-s6h-166-tet'sah).       I 
Risoluto  (It.,  re-soh-loo'toh).  j 

Risoluzione,  con  (It.,  kohn  re-s6h-166-tse-oh'neh).  j 

In  a  resolute,  vigorous,  decided  style. 

Risvegliato  (It.,  re-sval-yah'toh).  Lively,  animated. 

Ritardando  (It.,  re-tar-dahn'doh).  Growing  slower 
and  slower. 

Ritardare,  senza(It ,  sen'tsah  re-tar-dah'reh).  With- 
out slackening  the  pace. 

Ritardato  (It.,  re-tar-dah'toh).     At  a  slower  pace. 
Ritenendo  (It.,  re-teh-nen'doh).  t  r.^llextanbo. 
Ritenente  (It.,  re-teh-nen'teh).     ' 
Ritenuto    (It.,  re-teh-noo'toh).     Held   back;  at  a 

slower  rate  of  speed. 
Ritmico  (It.,  rit'me-koh).     Rhythmical;  MiSURATO. 
Ritmo  (It.,  rit'moh).     Rhythm. 
Ritornello  (It.,  re-tor-nel'16h).  )  ^^  ^^^^  ^^^^^^  ^^  ^ 

Ritournelle  (Fr..  re-toor-nel')-  ' 

song.— 2.    A    repeat.— 3.    In   accompanied    vocal 

works,   an   instrumental  prelude,  interlude,  or 

postlude  (refrain). 
Robustamente  (It.,  roh-boo-st5h-men't5h).  ^ pj^.^^^^ 
Robusto  (It.,  r6h-b66'st oh).  * 

ly  and  boldly. 


?oi1 — Rnbato  123 


Roll.    I.  A  tremolo  or  trill  on  the  drum.    The  sign 
in  notation  is 

tr       or  „^,^    or   pj 


J^ong'  roily  the  prolonged  and  reiterated  drum- 
signal  to  troops,  for  attack  or  rally. — 2.  In  (»rKan- 
playing,  a  rapid  arpeggio. — 3.  On  the  tambourine, 
the  rapid  and  reiterated  hither-  and  thither- 
stroke  with  the  knuckles. 

liomance.  Originally,  a  ballad,  or  popular  tale  in 
verse,  in  the  Romance  dialect;  now,  a  title  for 
epico-lyrical  songs,  or  of  short  instrumental 
pieces  of  a  sentimental  or  romantic  cast,  and 
without  special  form. — The  French  romance  is  a 
simple  love-ditty  ;  Roviances  sans  paroles  [r6h- 
mahns'.sahnpah-rohKJ,  "Songs  without  Words." 

Roman'tic.  Music  of  the  post-classic  period  (after 
Beethoven),  in  which  more  attention  is  paid  to 
the  expression  of  feeling  than  to  the  observance 
of  form,  is  called  Romantic. 

Ron'do  (It.  Rondd  [rohn-doh']).  An  instrumental 
piece  in  which  the  leading  theme  (I)  is  repeated, 
alternating  with  the  others  thus  :  I-II  (dominant)- 
-I-III-I-II(tonic)-Coda.- 

Root.  The  lowest  note  of  a  chord  in  the  funda» 
mental  position. 

Rota.     I.     A  Round,  Rondo,  etc.— 2.  A  Crowd. 

Rotondo  (It.,  r5h-t6hn'd6h).     Round,  full. 

Roulade  (Fr.,  roo-lShd';.  A  grace  consisting  of  a 
run  or  arpeffj^io  from  one  principal  melody-tone 
to  another  ;  a  vocal  or  instrumental  flourish. 

Round.  1.  A  kind  of  vocal  canon  at  the  unison, 
without  coda  ;  sometimes  with  an  harmonic  sup- 
port or  accompaniment,  \.\\q  pes. 

Roun'del.     A  ring-dance. 

Roun'delay.  A  lay  or  song  containing  some  con- 
tinued reiteration  or  refrain. 

Rubando  (It.,  roo-bShnMSh).  Performing  in  a 
rubato  ^X.y\e. .  .Affrettando  e  rubando  il  tempo. 
perform  with  increasing  speed,  and  dwell  on  ac- 
cented tones. 

Rubato  (It.,  roo-bSh 't^>h").  "Robbed";  mean* 
"dwell  on,  and  (often  almost  insensibly)  prolong 


124  Ruhig— Saraband 

prominent  melody-tones  or  chords."  This  re« 
quires  an  equivalent  acceleration  of  less  promi- 
nent tones,  which  are  thus  "  robbed  "  of  a  por- 
tion of  their  time-value. 

Ruhig  (Ger.,  roo'iyh).    Quiet,  calm,  tranquil. 

Riihrung  (Ger.,  ru'roong"^).    Emotion. 

Run.  A  rapid  scale-passage ;  in  vocal  music,  usu« 
ally  such  a  passage  sung  to  one  syllable. — The 
wind  in  the  windchest  (organ)  runs  when  it  leaks 
into  a  groove. 

Rustico  (It.,  roo'ste-koh).    Rural,  pastoral. 

Ruvidamente    (It.,   roc- ve  -  dah -men'teh),  I  j 

Ruvido  (It.,  roo've-doh).  ' 

rougn,  harsh  style. 

Rythme  (Fr.,  rit-ma').  Measured...  Bien  rythmic 
well-balanced  and  elegant  in  rhythmical  eftect. 


S.  Stands  for  Segno  in  the  phrases  al  Seg-no,  dal 
Segno  :  for  Senza,  Sinistra^  Solo^  Soprano,  Sordi- 
ni :  and  for  Subito  in  the  phrase  Volti  subito 
(V.S.). 

Sackbut.  I.  Early  form  of  trombone.— 2.  In  the 
Bible,  the  translation .  of  sabbek^  supposed  to 
have  been  a  harp-like  instrument. 

Saite  (Ger.,  zl'te).     A  string. 

Sahcet.        _  ^^  organ-stop  having  open  metal  flue* 

Salicional.  ' 
pipes,  usually  of  8-toot  pitch,  also  of  4-,  2-,  and  (on 
the  pedal)  16-foot  pitch,  with  mellow,  reedy  tone. 

Saltarella,  Saltarello  (It.,  sahl-tah-rel'lah,  -loh).  A 
second  division  in  many  16th-century  dance- 
tunes,  in  triple-time,  the   skipping  step  marked 


in   the   rhythm     m .  m  m  \m — m —  .—Also,  an 

Italian  dance  in  3-4  or  6-8  time. 
Saltato  (It.,  sahl-tah'toh).     See  SPRINGING  BOW. 
Salto  (It.,  sahl'toh).     Leap ;  di  salio,  by  a  leap  or 

leaps.— Also,  skip  or  "  cut." 
Sanft  (Ger.,  zahnft).    Soft,  low. 
Sans  (Fr.,  sahn).     Without. 
Saraband'.    A  stately  dance  of  Spanish  or  Orien* 

tal  origin.    The  instrumental  S.  has  usually  two 


Sarabanda— Scherzhaft  123 

#  » 

8-measure  reprises,  in  slow  tempo  and  triple 
time  ;  its  place  in  the  Suite,  as  the  slowest  move- 
ment, is  before  the  Gigue. 

Sarabanda  (It.,  s&h-ra,h-bS.hn'd&h).    > 

Sarabande  (Pr.,  s3.h-rah-bahn'd).       >- Saraband. 

Sarabande  (,Ger.,  sah-rah-bahn'de). ) 

Sarrusophone.  A  brass  wind-instrument  invented 
(1863)  by  and  named  after  the  bandmaster  Sarrus 
of  Paris,  with  a  double  reed. 

Saxhorn.  A  brass  wind-instrument  invented  in 
1842  by  Adolphe  Sax,  a  Belgian  It  is  essentially 
an  improved  key-bugle  or  ophicleide,  having 
from  3  to  5  valves  instead  of  keys. 

Saxophone.  A  metal  wind-instrument  invented 
about  1840  by  Adolphe  Sax  of  Dinant-sur-Meuse, 
Belgium,  having  a  clarinet  mouth-piece  with 
single  reed,  the  key-mechanism  and  fingering 
also  resembling  those  of  the  clarinet.  It  has  a 
mellow,  penetrating  tone  of  veiled  quality. 

Saxotromba.     A  valve-trumpet  invented  by  Sax. 

Sbalzato  (It.,  zbahl-tsah'toh).  Dashingly,  impetu- 
ously. 

Scale.  I.  The  series  of  tones  which  form  (a)  any 
major  or  minor  key  {diatonic  scale),  or  {b)  the 
chromatic  scale  of  successive  semitonic  steps. — 
2.  The  compass  of  a  voice  or  instrument;  also, 
the  series  of  tones  producible  on  a  wind-instru- 
ment.— 3.  In  the  tubes  of  wind-instruments  (espe- 
cially organ-pipes),  the  ratio  between  width  of 
bore  and  length.  [endo. 

Scemando  (It.,  sheh-mShu'doh).    Same  as  DiMl.\U- 

Scena  (It.,  sha'nah).  An  accompanied  dramatic 
solo,  consisting  of  arioso  and  recitative  passages, 
and  often  ending  with  an  aria. 

Schalkhaft  (Ger.,  shShlk^hSft).  Roguish,  sportive, 
wanton. 

Schaurig  (Ger.,  show'riyh).  In  a  stvle  expressive 
of  (or  calculated  to  inspire)  mortal  dread;  weirdly. 

Scherzando  (It.,  skar-tsShnMoh). 

Scherzante  (It.,  skar-ts3,hn'teh). 

Scherzevole  (skar-tsa'v6h-l^h). 

Scherzoso  (It.,  skar-tsoh's6h). 
sportive,  toying  manner  ;  lightly,  jestingly. 

Scherzhaft  (Ger.,  sharts'hihft).  Sportive  ;  jocose, 
burlesque. 


In  a  playful. 


tsim] 


126  Scherzo — Schwindend 

Scherzo  (It.,  skar'tsoh).  A  joke,  jest.— i.  Ar  in- 
strumental piece  of  a  light,  piquant,  humorous 
character.  —  2.  A  vivacious  movement  in  the 
symphony,  with  strongly  marked  rhythm  and 
sharp  and  unexpected  contrasts  in  rhythm  and 
harmony  ;  usually  the  third  movement. 

Schiettamente  (It.,  ske-et-tah-men'teh). 

Schiettezza,  con  (It.,  kohn  — tet'sah).  J- Simply, 

Schietto  (It.,  ske-et'toh). 
quietly;  neatly,  deftly. 

Schleppen  (Ger..  shlep'pen).  To  drag,  retard... 
Nicht  schleppen,  do  not  drag. 

Schleppend  (Ger.,  shlep'pent).    Dragging. 

Schluss  (Ger.,  shlooss).    Close,  cadence  ;  end. 

Schmachtend  (Ger.,  shmah'tent).  Languishing(ly), 

longing(ly). 
Schmeichelnd  (Ger.,  shmi'yhelnt).    Flatteringly; 

in  a  coaxing,  caressful  style. 
Schmerzhaft  (Ger.,  shmarts'hahft).    )     pain£ul(ly) 
Schmerzlich  (Ger.,  shmirts'Iiyh).       ) 

sorrowful(ly),  plaintive(ly). 

Schnell  (Ger.,  shnel).  Fast,  quick,  rapid. .  .Schneller^ 
faster ;  nach  und  iiach  schtteller,  gradually  faster. 

Schot'tische  (shot'ish).  A  round  dance  in  2-4  time, 
a  variety  of  the  Polka. 

Schwach  (Ger.,  shvah).     Weak  ;  soft,  faint,  low. 

Schwacher  (Ger.,  shveyh'er).    Softer,  fainter. 

Schwebend  CGer.,  shva'bent).  Floating,  soaring; 
buoyant(ly) ;  in  a  lofty,  elevated  style. 

Schwegelpfeife  (Ger.,  shva'gel-pfl'fe).  An  open 
flue-pipe  in  the  organ,  of  8-  or  4-foot  pitch,  the 
pipes  slightly  tapering  at  the  top. 

Schweizerfiote  (Ger.,  shvi'tser-flo'te).  An  8-foot 
metal  flue-stop  in  the  organ,  of  penetrating  tone; 
the  same  of  4-foot  pitch  is  called  Schvceizerpfeife: 
of  16-foot  pitch,  on  the  pedal,  Schweizerflotenbass. 

Schwellen      (Ger.,     shvel'len).        Same     as     AN. 

SCHWELLEN. 

Schwer  (Ger.,  shvar).   Heavy,  ponderous;  difficult. 
Schwermut(h)ig  (Ger.,  shvar'mu'tiyh).     Sad,  meU 

ancholy. 
Schwindend   (Ger.,    shvin'dent).       Dying    away, 

morendo. 


Schwung^,  mit— Scozzese,  alia 


Schwung,  mit  (Ger.,  mit  schvadnR").  /  Cwine-ine-lv 
SchwungvoU  (Ger,  shveSngk/fahi).    *  s     «  >« 

buoyantly;  with  sweep  and  passion. 
Scintillante    (It.,     shin-til-lShn'teh).       Sparkling:, 

brilliant. 
Scioltamente(It.,  sh6hl-tah-men'tgh).  j 
Scioltezza,  con  (kohn  sh6hl-tet'sSh).     V  Freely,  flu- 
Sciolto,  -a  (It.,  sh61-t5h,  -tSh).  ) 

ently,  nimbly. 
Scivolando  (It.,  she-v6h-iahn'd6h).    Same  as  Gh'sm 

sando,  in  piano-playing. 
Scoop.    Vocal  tones  are  "  scooped  "  when  taken, 

instead  of  by  a  firm  and  just  attack,  by  a  rough 

portamento  from  a  lower  tone. 

Scordatura  (It.,  sk6hr-dah-too'rah).  Solo  pitch  ;  a 
change  in  the  ordinary  tuning  of  a  stringed  in- 
strument, to  obtain  special  effects  or  easier  exe- 
cution. 

Score.  A  systematic  arrangement  of  the  vocal  or 
instrumental  parts  of  a  composition  on  separate 
staves  one  above  the  other... C/<?Jr  or  compressed 
score,  a  Short  &cove... Full  or  orchestral  score, 
one  in  which  each  vocal  and  instrumental  part 
has  a  separate  s\.a.K. . .  Fiano/orte-score,  a.  piano- 
arrangement  of  an  orchestral  score,  the  words  of 
any  leading  vocal  parts  being  inserted  above  the 
iniisic  without  their  note^.  ..Opett  score,  a  Full 
?,cove...Or^a>i-score,\\\ie  Pianoforte-score,  some- 
times with  a  third  staff  for  pedal  bass...^7wr/ 
sco)-e,  any  abridged  arrangement  or  skeleton 
transcript ;  also,  4-part  vocal  score  on  2  staves... 
Supplementary  score,  one  appended  to  the  body 
of  the  score  when  all  parts  cannot  be  written  on 
one  page. . .  Vocal  score,  that  of  an  a-cappella  com- 
position ;  also,  the  vocal  parts  written  out  in  full, 
usually  on  separate  staves,  the  piano  accompani- 
ment being  arranged  or  compressed  (from  the 
full  instrumental  score)  on  2  staves  below  the 
rest. 

Scoring.    Instrumentation,  orchestration. 

Scorrendo    (It.,   sk6hr-ren'd6h).  }  Fluent,    flowing, 

Scorrevole   (sk6hr-ra'v6h-15h).    i' gliding. 

Scotch  snap  or  catch.    The  rhythmic  motive    p| 
found  in  inany  Scotch  airs.  •  •• 

Scozzese,    alia  (It.,    Shi '  lih  sk6ht  -  tsS  '  z6h).      In 

Scotch  style, 


128  Sdegno,  con— Sehnsuchtig 

Sdegno,  con  (It.,  kohn  zdan'yoh).  \ 

Sdegnosamente  (zdan-yoh  -  sah- men'teh).  y  In    a 

Sdegnoso  (It.,  zdan-yoh'soh).  ' 

style  expressing  scorn,  disdain,  wrath,  or  indig* 
nation.  [in^^  glissa7ido, 

Sdrucciolando    (It.,   zdr66t-ch6h-lahn'd6h).      Slid* 

Se  (It.,  sa).  \i...Se  bisogna,  if  necessary... 5<?  pi- 
ace,,  if  you  please. 

Sec  (Fr.,  sek).     Dry,  simple. 

Secche  (It.,  sek'keh).    Plural  of  Secco. 

Secco  (It.,  sek'koh).  Dry,  simple  ;  not  dwelt  on... 
Recitativo  secco^  one  with  a  simple  figured-bass 
accompaniment. 

Secheresse,  avec  (Fr.,  sa-shii-ress').  Dryly;  with- 
out dwelling  on  or  embellishing. 

Second,  i.  The  interval  between  two  conjunct 
degrees. — 2.  The  alto  part  or  voice. — 3.  Perform- 
ing a  part  lower  in  pitch  than  first,  as  second 
bass,  second  violins.— 4.  Lower  in  pitch,  as  second 
string.— 5.  Higher  ;  as  second  line  of  staff. 

Secondary  chords.    Subordinate  chords. 

Secondo,  -a  (It  ,  seh-kohnMoh.  -dab).  Second  ;  also, 
a  second  part  or  performer  in  a  duet. 

Section.  A  short  division  (one  or  more  periods)  of 
a  composition,  having  distinct  rhythmic  and  har- 
monic boundaries;  specifically,  half  a  Phrase. 

Secular  music.  Music  other  than  that  intended 
for  worship  and  devotional  purposes. 

Segno  (It.,  san'yoh).  A  sign.  ..^/j-^^w^',  to  the  sign  ; 
Dal  segno,  from  the  sign  ;  — directions  to  the  per- 
former to  turn  back  and  repeat  from  the  place 
marked  by  the  sign  i;^^  to  the  word  Fine^  or  to  a 
double-bar  with  hold  i/^). 

Segue  (It.,  sa'gweh).  i.  Follows;  segue  Varia,,  the 
aria  follows.— 2.  Simile. 

Seguendo  (It.,   seh-gwen'doh).    >    Following..  .5^- 

Seguente  fit.,  seh-gwen'teM.       ' 
guendo  il  canto,  same  as  col  canto,  colla  voce. 

Seguidilla  (Span.,  sa-gwe-dil'yah).  A  Spanish 
dance  in  triple  time,  some  varieties  being  slow, 
others  lively  ;  usually  in  minor,  accompanied  by 
guitar  and  voice,  and  at  times  bj'  the  castanets. 

Sehnsucht,  mit  (Ger..  mit  zan'zooht).  I  Longingly* 

Sehnsuchtig  (Ger..  zan'zz/yh'tiyh).        J 
in  a  style  expressive  of  yearning. 


Sehr— Serenade  129 


i).[ln; 


Sehr' (Ger.,  zar).     Very. 

Sem'ibreve.     A  whole  note. 

Sem'itone.     A  half-tone. 

Semplice  (It.,  sem'ple-ch6h). 

Semp lice  men te  (sem-ple-ch5h-men't5h). 

Semplicita,  con  (kohn  sem-ple-che-tah' 
pie,  natural,  unaffected  style.  [throughout. 

Sempre     (It.,     sem'prSh).      Always,    continually; 

Sensibile  (It.,  sen-.se'be-15h).  Audible;  sensitive. 
. .  .A'o/a  si'fisidi/f,  leading-note.  [feeling 

Sensibilita,  con  (It.,  kohn  sen-se-be-le-tah'J.     With 

Sentence.  A  passage  of  symmetrical  rhythmic 
form,  generally  not  over  16  measures  long,  and 
usually  ending  with  a  full  tonic  cadence. 

Sentimentale  (It.,  sen-te-men-tah'lSh),     »_  Feeling- 

Sentimento,  con  (kohn  sen-te-men'toh).  ^       'y- 

Sentito  (It.,  sen-te't5h).  With  feeling,  expression, 
special  emphasis. 

Benza  (It.,  sen'ts^h).  Without.  (Abbreviated  S.) 
—Sefiza  di  slenture,  without  retarding. .  .S.  misu- 
ra,  "  without  measure,"  that  is,  not  in  strict  time. 
..  .S.  passiorte,  without  passitm,  quietly.  ..»S".  pt- 
atti,  ''drum  alone"  (where  one  performer  plays 


the  cymbals  and   bass  drum) .  .  .  6'.   rallentare^ 

without  retarding. .  ..S".  sordini^  see   Sordino... 

S.  suono^    "without   tone,'   that  is,  spoken. ..6'. 

tempo,  sa-me  as  senza  tnisura. 
Sept.     The  interval  of  a  Seventh. 
Sept-chord.     Seventh-chord. 
Septet(te).      A   concerted    composition  for  seven 

voices  or  instruments. 
Septimole  (Ger.,  sep-te-moh'lg).  »  ^  septuplet. 
Septole  (Ger.,  sep-toh'le).  > 

Septuor  (Fr.,  sep-tK-ohr').     A  septet. 
Sep'tuplet.     A  group  of  7  equal   notes  to  be  per- 
formed in  the  time  of  4  or  6  of  the  same  kind  in 

the  regular  rhythm. 
Se'quence.     i.  The  repetition,  oftener  than  twice 

in  succession,  of  a  melodic  motive. — 2.  In  the  R. 

C.  Church,  a  kind  of  hymn. 
Serenade',    i.  An  '*  evening  song  ";  especially  such 

a  song  sung  by  a  lover  before  his  lady's  window. 

— 2.  An  instrumental  composition  imitating  the 

above  in  style. 


I30  Serenata— Sextuplet 

Serenata  (It.,  seh-reh-nah'tah).  i.  A  species  of 
dramatic  cantata  in  vogue  during  the  i8th  cen- 
tury.— 2.  An  instrumental  composition  midway 
between  Suite  and  Symphony,  but  freer  in  form 
than  either,  having  5,  6  or  more  movements,  and 
in  chamber-music  style.— 3.  See  Serenade. 

Serenita,  con  (It.,  seh-reh-ne-tah').  '  In     a    serene, 

Sereno  (It.,  seh-ra'noh).  f  tranquil  style. 

Serieta,  con  (It.,  kohn  seh-re-eh-tah').     Seriously. 

Serio,  -a  (It.,  sa're-6h,  -ah).  Serious. .  .Opera  seria, 
grand  or  tragic  opera.. .  7V«fr<?  serio,  dramatic 
^^"°^'  [impressive  style. 

Serioso  (It.,   seh-re-oh's6h).    In  a  serious,  grave, 

Serpent.  A  bass  wind-instrument  invented  by 
Canon  Guillaume  of  Auxerre  in  1590.  Nearly 
obsolete. — In  the  organ,  a  reed-stop. 

Sesquial'tera.  In  the  organ,  either  a  mutation- 
stop  a  Fifth  above  the  fundamental  tone,  or 
(usually)  a  compound  stop  of  from  2  to  5  ranks. 

Sestet.     A  SEXTET. 

Sestetto  (It.,  ses-tet'toh).    A  sextet. 

Sestole,  Sestolet.     A  sextuplet. 

Settimino  (It.,  set-te-me'noh).    A  septet. 

Seventeenth,  i.  Interval  of  2  octaves  plus  a  Third. 
—2.  Same  as  Tierce  (organ-stop). 

Seventh.     See  INTERVALS. 

Seventh-chord.  A  chord  of  the  7th,  composed  of  a 
root  with  its  Third,  Fifth  and  Seventh. 

Severamente  (It.,  seh-veh-rah-men'teh).  \ 

Severita,  con  (kohn  seh-veh-re-tah').         [-Strictly, 

Severo  (It.,  seh-va'roh).  ) 

with  rigid  observance  of  tempo  and  expression- 
marks. 

Sext.  I.  The  interval  of  a  Sixth.— 2.  The  oflfice  of 
the  fourth  canonical  hour. — 3.  A  compound  organ- 
stop  of  2  ranks  (a  12th  and  a  17th)  a  Sixth  apart. 

Sextet.  A  concerted  composition  for  six  voices  or 
instruments,  or  for  6  obbligato  voices  with  instru- 
mental  accompaniment. 

Sexto'le,  Sex'tolet.     A  sextuplet. 

Sextuplet.  A  group  of  6  equal  notes  to  be  per- 
formed in  the  time  of  4  of  the  same  kind  in  the 
regular  rhythm.  In  the  tr2ie  sextuplet  the  ist, 
3d  and  5th  notes  are  accented  ;  the  false  sextup- 
let is  simply  a  double  triplet. 


Sfogato — Sicilienne  131 

Sfogato  (It.,   .sf6h-gah't6h).     "Exhaled";  a  direc- 

ti(jn,  in  vocal  music,  to  sing  lightly  and  airily.— 

Soprano  sfogato,  a  high  soprano  voice. 

Sforzando  (It.,  sfohr-tsShn'doh).  \  /^vritten  sf-  sf 

Sforzato  (It.,  sfohr-tsah't6h).         )  J-^J^ 

>,  A,  •  ).    A    direction  to  perform  the  tone   or 
i    chord  with  special  stress,  or  marked  and 
sudden  emphasis. 

Sfumate(It.,sfu6-mah'tSh).lyg        U    1^^,       jji^^  ^ 

Sfumato  (It.,  sf6o-mah't6h).  > 
vanishing  smoke-wreath. 

Shading,  i.  In  the  interpretation  of  a  composi- 
tion, the  combination  and  alternation  of  any  or 
all  the  varying  degrees  of  tone-power  between 
fortissimo  a.r\d  pianissuno.ioT  obtaining  artistic 
effect.— 2.  The  placing  of  anything  so  near  the 
top  of  an  organ-pipe  as  to  affect  the  vibrating 
column  of  air  within. 

Shake.  A  trill. .  .Sliaked  graces^  the  shaked  Beat, 
Backfall,  Cadent,  and  Elevation,  and  the  Double 
Relish  (all  obsolete). 

Sharp.   The  sign  ^...Double-sharp,  the  sign  X  ox^. 

Sharp  {adjective),  i.  (Of  tones  or  instruments.) 
Too  high  in  pitch.— 2.  (Of  intervals.)  Major  or 
augmented.— 3.  (Of  keys.)  Having  a  sharp  or 
sharps  in  the  signature.— 4.  (Of  organ-stops.) 
Shrill.— 5.  (Of  digitals  ;;!>/«rt?/.)  The  black  keys  ; 
or  any  white  key  a  semitone  above  another. 

Shift.  In  playing  the  violin,  etc.,  a  change  by  the 
left  hand  from  the  first  position  ;  the  2d  position 
is  called  the  half-shift .,  the  3d  the  whole  shijt,  and 
the  4th  the  double  shijt.  When  out  of  the  ist  pos. 
the  player  is  "on  the  shift,"  and  shifting  up  or 
down,  as  the  case  may  be. 

Si  (It.,se).  I.  The  7th  solmisation-syllable.— 2.  One; 
it. .  .Si  leva  il  sordino,\.z.'Ae  off  the  mute.  ..Silevano 
i  sordini,  take  off  the  mutes. .  .Si place,  si  lif>et,  at 
pleasure..  ..bV  >v///t a,  repeat..  .^"/ i^<V«<'.  proceed. 
...Si  face,  be  silent. . .  Si  volta.  turn  over. .  .Si  ha 
s' immaginar  la  battuta  di%,  imagine  the  time  to 
be  %. 

Siciliana  (It.,  se-che-le-ah'nah).    \  ^^^^^  ^^  ^^^  gj, 

Sicilienne  (Fr.,  se-se-l'yen').  ' 

cilian  peasants;  a  kind  of  pastorale  in  moderately 
slow  tempo  and  6-8  or  12-8  time,  frequently  in 
minor. .  .Alia  siciliana,  in  the  style  of  the  above. 


132  Signature— Slancio,  con 

Signature.  The  signs  set  at  the  head  of  the  staff 
at  the  beginning  of  a  piece  or  movement ;  the 
Key-si'^natiire  is  the  chromatic  sign  or  signs 
(sharps  or  flats);  the  Time-sigiiature  is  the  figures 
or  signs  indicating  the  measure. 

Silenzio  (It.,  se-len'tse-6h).  Silence ..  .LufiS'O  si'/en* 
zi'o,  a  long  pause. 

Similar  motion.     See  MOTION. 

Simile  (It.,  se'me-leh).  Similarly;  a  direction  to 
perform  the  following  measures  or  passages  in 
the  same  style  as  the  preceding ..  .Stmi7e-mar^, 

•  »-— '  n^eans  that  a  measure  or  group 

^2zz  ihrz     must  be  repeated. 

Simple.  (Of  tones  or  intervals.)  Not  compound.^ 
(Of  counterpoint,  imitation,  rhythm,  etc.)  Not 
compound  or  complex,  undeveloped,  not  varied. 

Simplement  (Fr.,  san-pl°-mahn').   Simply tSemJ>/ice, 

Sin'.     Abbreviation  of  SiNO. 

Sinfonia  (It.,  sin-foh-ne^'ah).  i.  A  symphony. — a. 
An  opera-overture. 

Sinfonie  (Ger.,  sin-foh-ne').     Symphony. 

Singbar  (Ger.,  zing^'bar).  Singable;  cantabile... 
Seltr  sinqbar  vorziitragen^  perform  in  a  very 
singing  style.  [cafifabile. 

Singend    (Ger.,    zing'ent).      Singing,    melodious, 

Singhiozzando  (It.,  sin-g'yoht-tsahn'doh).  Sob* 
bing;  catching  the  breath. 

Singstimme  (Ger.,  zing^'shtim'me).  The  singing- 
voice  ;  the  voice. 

Sinistra  (It.,  se-ni'strah).  "Le^X.  ..Mano  sinistra 
(m.  s.),  left  hand.  ..C(?//iZ  sinistra^  wi\.h  the  left 
liand.  [(or  ^iti')  alfitie,  to  the  end. 

Sine  (It.,  se'noh).    To,  up  to,  as  fair  as,  till . . . Sino 

Sixteenth-note.     See  Elem.  OF  NOTATION,  p.  ill. 

Sixth.      See  INTERVALS,  page  vi. 

Sixty-fourth-note.    See  Elem.  OF  NOTATION,  p.  iii. 

Skip.  Melodic  progression  by  an  interval  wider 
than  a  Second  ;  disjunct  progression. 

Slanciante  (It.,  zlahn-chShn'teh).  ^4^^^^.^.^^^    o^n 

Slanciato  (It.,  zlShn-chah'toh).        > 
lightly  and  deftly,  or  forcibly  and  vehemently. 

Slancio.  con  (It.,  kohn  zlahn'choh").  With  dash, 
vehemence;  impetuously.     (Often  ^(3«  isiancitf.) 


Slancio,  di — Snare-drum  133 

Slancio,  di  (It.)  Tlie  direct  and  "hammer-like" 
attack  of  a  hiyjher  or  lower  tone,  contrasted  with 
the  •*  carry  "  of  the  Portamento.     (Also  di  posto.) 

Slargando  (It.,  zlar-pfthn'doh).  ]  Growing  slow- 

Slargandosi  (It.,  zlar-g5.hn'd6h-se).  '      ^^• 
Slargato  (It.,  zlar-gah'toh).    Slower;  piii  sosteniito. 
Slentando  (It.,  zlen-tan'd6h).     Growing  slower. 

Slide.  I.  The  movable  U-shaped  tube  in  the  trom- 
bone, etc.— 2.  In  the  organ,  a  slider.— 3.  Three  or 
four  swiftly  ascending  or  descending  scale-tones. 
— 4.  On  a  violin-bow,  that  part  of  the  nut  which 
slides  along  the  stick. 

Slide-horn.  ) 

Qi;^-  i-,-«rr,K^r,»      0"^  pUvcd  bv  thc  use  of  a  slide 

Shde-trombone.  V     jn^tead  of  keys  or  valves. 

Slide-trumpet.     ' 

Slur.  A  curved  line  under  or  over  two  or  more 
notes,  signifying  that  they  are  to  be  played 
le,^ii(o.  In  vocal  music  the  slur  unites  notes  to 
be  sung  in  one  breath  ;  the  notes  so  sung  are 
called  a  siuf. 

Slurred  melody.  One  in  which  two  or  more  tones 
are   sung  to   one  syllable  ;    opposed   to  syllabic 

melody. 

Small  octave.     See  Elem.  OF  NoT.\'lION,  p.  v. 

Small  orchestra.  The  usual  orchestra  minus  the 
trombones,  2  horns,   and   perhaps  the   clarinets 

and  kettledrums. 

Smaniante  (It.,  zmah-ne-Shn'tgh).  I  j^  ^^  impetu. 
Smanioso  (It.,  zmSh-ne-oh'soh).       ' 
ous,  passionate  style. 

Sminuendo  (It.,  zme-n66-en'd6h).  Same  as  DIMIN- 
UENDO. 

Sminuito  (It.,  zme-n66-e't6h).     More  softly. 

Smorendo  (It.,  zm6h-ren'd6h).     Dying  away. 

Smorfioso  (It.,   zm6hr-fe-oh's5h).      With    affected 

exprt- ssion. 

Smorzando  (It.,  zmi'jhr-tsShn'doh).  \  i^y-^^^  away. 
Smorzato  (It.,  zmShr-tsih'toh).        ' 

Snare-drum,  A  side-drum,  across  the  lower  head 
of  which  are  stretched  several  gut  strings,  the 
"  snares,"  whose  jarring  against  the  head  rein- 
forces the  tone. 


Soave— Solo  quartet 


Soave  (It.,  soh-ah'veh).  \ 

Soavemente  (It.,  s6h-ah-veh-men'teh).  ^  Suavely, 

Soavita,  con  (kohn  soh-ah-ve-tah').  ^ 

sweetly,  softly,  flowingly.  [choked. 

Soffocato  (It.,  sohf-foh-kah'toh).   Muffled,  damped  ; 

Soggetto  (It.,  sohd-jet'toh).     Subject,  theme,     njy^ 

Sognando  (It.,  sohn-yahn'doh).     Dreaming,  dream- 

Soh  stands  for  So/,  in  Tonic  Sol-fa. 

Sol  (It.,  sol).  The  fifth  of  the  Aretinian  syllables, 
and  name  of  the  note  G  in  France,  Italy,  etc. 

Solenne  (It.,  soh-len'neh).  j 

Solennemente    (soh-len  -  neh-men'teh).  >   Solemn, 

Solennita,  con  (kohn  s6h-len-ne-tah').      ' 
solemnly,  with  solemnity,  in  a  lofty  style. 

Sol-fa'.  I.  To  sing  solfeggi,  especially  to  the  solmi- 
sation-syllables. — 2.  Solmisation,  and  the  syl- 
lables sung  in  it. 

Solfeggio  (It. ,  sohl-fed'joh  ;  plural  solfeggi  [-je]). 
A  vocal  exercise,  either  on  one  vowel,  or  on  the 
solmisation-syllables,  or  to  words. 

Solid  chord.     Flat  chord.  \solito,  as  usual. 

Solito  (It.,  so'le-toh).     Accustomed,  habitual..  ..4/ 

Solmisation.  A  naethod  of  teaching  the  scales  and 
intervals  by  syllables,  the  invention  of  which  is 
ascribed  to  Guido  d'Arezzo  (born  990?).  It  was 
based  on  the  hexachord.  or  6-tone  scale  ;  the 
first  six  tones  of  the  major  scale,  c  d  e  f  g  a, 
were  named  ul,  re,  tm\fa,  sol,  la.  The  7th  sylla- 
ble si,  for  the  leading-tone,  was  added  during  the 
17th  century;  about  the  same  time,  the  name  ut 
for  C  was  changed  to  do,  except  in  France. 

Solo  (It.,  soh'loh).  Alone. — A  solo  is  a  piece  or 
passage  for  a  single  voice  or  instrument,  or  in 
which  one  voice  or  instrument  predominates.  In 
orchestral  scores.  "  Solo  "  (or  simply  "  I  ")  marks 
a  passage  where  one  instrument  takes  a  leading 
part.  In  a  2-hand  arr.  of  a  piano-concerto.  Solo 
marks  the  entrances  of  the  solo  pianoforte. —  Vio- 
litio  solo  means  either  "  violin  alone  "  or  "  first 
violin  "  (accompanied). 

Solo  organ.     A  4th  manual  controlling  solo  stops. 

Solo  pitch.     Same  as  Scordatura. 

Solo  quartet,  i.  A  quartet  consisting  of  4  singers 
(4  "solo  voices''). — 2.  A  piece  or  passage  in  4. 
parts  for  4  singers.— 3.  A  non-concerted  piece  for 
4  instruments,  one  of  which  has  a  leading  part. 


Solo  stop— Sopra  135 

Solo  stop.     See  Stof. 

Sombre  (Fr.,  sShn'br).     Dark,  veiled,  obscure. 
Sommesso,  -a  (It.,  s6hm-mes's6h,  -sih).    Subdued. 
Sommo,  -a  (It.,  s6hin'm6h,  -m5.h).   Utmost,  highest, 

greatest,  extreme.— Cf«  som?na  espressione,  with 

intensest  feeling. 
Son  (Fr.,  sohn).    Sound  ;  tone. 

Sonabiledt.,  s6h-nah'be-16h).  I  gounding,  resound- 

Sonante  (It.,  s5h-nahn'teh).      ' 
ing,  sonorous,  resonant. 

Sonata  (It.,  soh-nah'tih).  An  instrumental  com- 
position in  3  or  4  extended  movements  contrasted 
in  theme,  tempo,  and  mood  ;  usually  for  a  solo 
instrument. 

Sonata-form.  The  usual  form  of  the  first  move- 
ment of  a  sonata  (also  called  "  first-movement 
form  "),  with  2  distinct  themes  alternating  as  fol- 
lows :  (  lb  A  +  B  41  +  B  [A]  -f  A  +  B  [in  the  orig- 
inal  key  of  A]).  N.  B.  Deviations  from  this  for- 
mula are  not  uncommon. 

Sonatina  (It.,  s6h-nah-te'nah),    \ 

Sonatina  (Fr.,  s6n-na,h-ten0.       r  A  short  sonata  in  2 

Sonatina  (Ger.,  soh-n3,h-te'ne).  ' 
or  3  (rarely  4)  movements,  the  first  in  the  charac- 


teristic first-movement  form,  abbreviated. 


[ing. 


Sonavola  (It.,  s6h-na'v6h-leh).     Sonorous,  resound- 
6ong.     A  short  poem  with  a  musical  setting  char- 
acterized by  a  structure  in  simple  periods.    There 
are  Folk-sense's  and  Art-songs  :  the  latter  may  be 
either  .y/r^M/t:  (each  strophe  sung  to  the   same 
tune,  with  a  change  at  most  in  the  final   one),  or 
progressively  composed  [composed-through]. 
Bong-form.     A   form  of  composition,  either  vocal 
or  instrumental,   which    has    ^    sections    and    2 
themes,  the  second  (contrasting)  theme  occupying 
the  2d  section. 
Sono  (It.,  s6'n6h).     Sound  ;  tone. 
Sonoramente  (It.,  s6h-n6h-rah-men't5h),  "] 
Sonore  (It.,  [//«rd/]  soh-no'reh).  I     _ 

Sonorita,  con  (It.,  k6hn  s5h-n6h-re-tah0.  |     ^°"°^* 
Sonoro,  -a  (It.,  s6h-n6'r6h,  -rSh).  J 

ously,  resoundingly,  resonantly,  ringingly. 
Sopra   (It.,    soh'prah).      On,    upon  ;    above,    over ; 
Higher... In    piano-music,    sopra  written  in   the 
part  for  either  hand  means  that  that  hand  is  to 


136  Sopran— Soubrette 

play  (reach)  over  the  other.  ..Sopra  una  corda,  on 
one  string. .  .C(7;«(?  sopra,  as  above. .  .AW/j  parte 
di  sopra,  in  the  higher  (or  highest)  part. 

Sopran  (Ger.,  soh-prahnO-     Soprano. 

Soprano  Qt.,  soh-prah'noh).  The  highest  class  of 
the  human  voice  ;  the  female  soprano,  or  treble, 
has  a  normal  compass  from  c^  to  a^  ;  solo  voices 
often  reach  above  c^,  some  as  high  as  c* . . .  Soprano 
clef,  the  C-clef  on  the  first  line...^  drammaticOy 
S.  ziiisto,  a  female  soprano  of  dramatic  power... 
S.  leggier 0,  a  light  soprano. .  ..S".  sfogato,  see  Sfo- 
G.\TO... Soprano  stritig,  the  ^-string on  the  violin. 

Sordamente(It.,  sohr-dah-men'teh).  With  a  veiled, 
muffled  tone. 

Sordino  (It.,  sohr-de'noh).  i.  A  mute  ;  con  sordini^ 
with  the  mutes ;  senza  sordini,  without  the 
mutes  ;  si  levano  i  sordini,  take  off  the  mutes. — 2. 
Damper  (of  the  piano)  ;  senza  sordini,  with 
damper-pedal  ;  so  used  by  Beethoven,  who  wrote 
con  sordini  to  express  the  release  (raising)  of  the 
damper-pedal,  instead  of  ^  . 

Sortita  (It.,  sohr-te'tah).  i.  A  closing  voluntarj'.— 
2.  The  first  number  sung  by  any  leading  char- 
acter in  an  opera.  An  Aria  di  sortita  is,  however, 
also  an  air  at  the  conclusion  of  which  the  singer 
makes  his  exit.  [i^j^^  .  catching  the  breath. 

Sospirando   (It.,   soh-spe-rahn'doh).     Sighing,  sob- 

Sospirevole    (It.,   s6h-spe-ra'v6h-leh).       I     gig-hing. 

Sospiroso  (It.,  s6h-spe-roh's6h).  ' 

deeply  ;  plaintive,  mournful. 

Sostenendo   (It.,   soh-steh-nen'doh).   (    See  SOSTE- 

Sostenente  (It.,  soh-steh-nen'teh).       >      NUTO. 

Sostenuto  (It.,  soh-steh-noo'toh).  Sustained,  pro- 
longed.—Standing  alone,  as  a  tempo-mark,  it  is 
inuch  the  same  as  Andante  ca?itabile:  it  may  also 
imply  a  tenuto.  or  a  uniform  rate  of  decreased 
speed... P/«  sostenuto  is  much  the  same  &?> Meno 
mosso. — Sostenuto  pedal,  sustaining  pedal. 

Sotto  (It.,  soht'toh).  Below,  under... In  piano- 
inusic,  sotto  written  in  the  part  for  either  hand 
ineans  that  that  hand  is  to  play  (reach)  under  the 
other. .  .Sottovoce  (or  sotto  voce),  in  an  undertone, 
aside,  under  the  breath. 

Soubrette  (Fr.,  soo-bret').  In  comedy  and  comedy- 
opera,  a  inaid-servant  or  ladv's-'maid  of  an  in- 
triguing and  coquettish  character  ;  also  applied 
to  various  light  roles  of  similar  type. 


Sound— Spring'ing  bow  137 

Sound.  A  noise  of  any  kind.  The  word  is  often 
inexactly  used  instead  of  "tone"  (musical  tone). 

Soundboard.  The  thin  plate  of  wood  placed  below 
or  behind  the  strings  of  various  instruments  to 
reintorce  and  prolong  their  tones.— In  the  organ 
it  is  the  cover  of  the  windchest. 

Sound-bow.  The  thick  rim  of  a  bell,  against 
which  the  clapper  strikes.  [instrument. 

Sound-hole.     A  hole  cut  in  the  belly  of  a  stringed 

Soundpost.  In  the  violin,  etc.,  the  small  cylindri- 
cal wooden  prop  set  inside  the  body,  between 
belly  and  back,  just  behind  (nearly  beneath)  the 
treble  foot  of  the  bridge. 

Sourdine  (Fr.,  soor-den').  An  harmonium-stop 
which  partially  cuts  off  the  wind-supply,  so  that 
full  chords  can  be  played  softly. 

Space.  In  the  staff,  the  interval  between  two  lines 
or  ledger-lines. 

Spasshaft  (Ger.,  shpahs'hSft).    Scherzando. 

Spianato,  -a  (It.,  sp'ySh-nah'toh,  -t^h).  Smooth, 
even,  tranquil. 

Spiccato  (It.,  spik-kah'toh).     See  SPRINGING  BOW. 

Spigliatezza  (It.,  spel-ySh-tet'sah).  Agility,  dex- 
terity. 

Spinet  (spin'et  or  spT-net').  An  obsolete  keyboard 
stringed  instrument  like  a  harpsichord,  but 
smaller. 

Spirito,  con  (It.,  kohn  spe're-t6h).  \ 

Spiritosamente  (It.,  spe-re-tSh-sSh-men'tSh).  V 

Spiritoso  (It.,  spe-re-toh's6h).  ' 

Spiritedly  ;  with  spirit,  animation,  energy. 

Spitze  (Ger.,  shpit-s6).  i.  Point  (of  the  bow).— 
2.  Toe  (in  organ-playing). 

Spitzfiote  (Ger.,  shpits'flo'te).  In  the  organ,  an 
open  flue-stop  of  organ-metal,  tin,  or  wood,  of 
8-,  4-,  2-,  or  i-foot  pitch;  tone  rather  thin,  but 
pure  and  reedy. 

Spread  harmony.     See  HARMONY. 

Springing  bow.  In  violin-playing,  a  stvle  of  bow- 
ing in  which  the  bow  is  allowed  to  drop  on  the 
string,  making  it  rebound  and  quit  the  string 
between  each  two  notes.  There  are  two  varie- 
ties :  (i)  The  Spiccato,  indicated  by  dots  over  the 
notes,  and  played  near  the  middle  of  the  bow 
with  a  loose  wrist,  for  rapid  passages  in  equal 
notes,   employing    the    wrist-stroke  throughout 


138  Squillante— Stilo 

for  each   detached  note  ;  (2)  the  Saltato,  witn  a 
longer  fall  and  higher  rebound,  generally  em- 
ployed  when  several  equal  staccato  notes  are 
to  be  taken  in  one  bow. 
Squillante  (It.,  skwil-lahn'teh).     Ringing,  tinkling. 
Sta  (It.,  stah).    It  stands.    (See  Come  sta.) 
Stabile  (It.,  stah'be-leh).     Steady,  firm. 

Staccato  (It.,  stahk-kah'toh).  Detached,  separat- 
ed ;  a  stj'le  in  which  the  notes  played  or  sung  are 
more  or  less  abruptly  disconnected. 

Staccato-mark.      A     dot   (,•)    or    wedge-shaped 

stroke  (1*)  over  a  note,  the  former  indicating  a 

less  abrupt  staccato  than  the  latter  ;  the  Mezzo- 
staccato  is  indicated  by  dotted  notes  under  a 
slur. 

Staff.  The  5  parallel  lines  used  in  modern  nota- 
tion ;  Plain  Chant  uses  onlj'  i,... Staff-notation^ 
the  staff  and  all  musical  signs  connected  with  it. 
...Grand  or  G?-eat  staff,  one  of  11  lines.  Middle 
C  occupying  the  sixth.  [jy^  draggingly. 

Stanchezza,  con  (It.,  kohn  stahn-ket'sah).     Weari- 

Stanco,  -a  (It.,  stahn'koh).     Weary,  dragging. 

Stark  (Ger.,  shtark).    Loud,  forcible;  forte. 

Starker  (Ger.,  shtar'ker).  Louder,  stronger  ;  piil 
forte. 

Steam-organ.     The  Calliope. 

Stem.     The  vertical  line  attached  to  a  note-head. 

Stentando  (It.,  sten-tahn'doh).  Dela\'ing,  retard- 
ing, dragging. 

Stentato  (It.,  sten-tah'toh).    Retarded,  dragged. 

Step.  A  melodic  progression  of  a  Second.— Also, 
a  6.e9;vee. .  .Chromatic  step,  progression  of  a 
chromatic  Second.  ..Diatonic  step,  progression 
between  neighboring  tones  of  any  diatonic  scale. 
...Half-step,  step  of  a  seraitonh. .  .Whole  step^ 
step  of  a  whole  tone. 

Sterbend  (Ger.,  shtar'bent).     Dying;  morendo. 

Stesso  (It.,  stes'soh).  The  same...Z^  stesso  (or 
ristesso)  movimento,  the  same  movement. 

Stil  (Ger.,  shtel).    \ 

Stile  (It.,  ste'leh).  V  Style... 5//7^   osservato,   strict 

Stilo  (It.,  ste'loh).  ' 
style,    especially    of    pure    vocal    ra^x^\c..  .Stile 


Stillgedackt— Stop  139 

rappresentativo,  dramatic  monodic  song  with 
instrumental  accompaniment  in  chords  ;  the  kind 
of  operatic  recitative  originating  towards  the 
close  of  the  i6th  century. 

Otillgedackt  (Ger.,  shtil'ge-dahkt').  A  soft-toned 
stopped  organ-register. 

Stimme  (Ger.,  shtim'me).  i.  Voice.— 2.  Part;  mtt 
der  Stimme^  Colla  PARTE.  — 3.  Organ-stop.^ 
4.  Soundpost. 

Siimmung  (Ger.,  shtim'm66ngk).  Tuning,  accorda- 
tiiru :  pitch;  a  mood,  frame  of  \i\\x\6.... Stint' 
inu)ig halten^  to  keep  in  tnrxG. .  .Stifnmungsbi.d,  a 
"mood-picture,"  short,  characteristic  piece. 

Stinguendo  (It.,  stin-gwen'doh).     Dying  away. 

!)tiracchiato  (It.,  ste-rahk-k'yah'toh).  /    Dragging, 

Stirato  (It.,  ste-rah'toh).  f    delaying. 

Stiriana  (It.,  ste-re-ah'nah).     Styrien.\E. 

Stollen  (Ger.,  shtohl'len).     See  STROPHE. 

Stop.  I.  That  part  of  the  organ-mechanism  which 
admits  and  "stops"  the  flow  of  wind  to  the 
grooves  beneath  the  pipes. — 2.  A  set  or  row  of 
organ-pipes  of  like  character,  arranged  in  gradu- 
ated succession.  These  are  called  speaking  or 
sounding  stops ;  they  are  classed  as  Flue-work 
(having  flue-pipes),  and  Reed-ivork  (having  reed- 
pipes)  ;  the  Flue- work  has  3  sub-classes,  {a)  Frin- 
cipal-work,  having  cylindrical  flue-pipes  of  dia- 
pason quality,  {b)  Gedackt-ivork^  having  stopped 
pipes,  and  {c)  Flute-ivork^  including  all  flue-stops 
of  a  scale  too  broad  or  too  narrow  to  produce 
diapason-tone,  together  with  such  stopped  pipes 
as  have  chimneys,  and  all  3-  or  4-sided  wooden 
i>'\pes.  ..Auxiliary-stop,  one  to  be  drawn  with 
some  other  stop  or  stops,  to  reinforce  the  tone  of 
the  latter. .  .Complete  stop.,  one  having  at  least  one 
pipe  for  each  key  of  the  manual  to  which  it  be- 
longs. ..Compound  stop,  see  MiXTUkP:-STOP. .  .Di- 
vided stop,  one  the  lower  half  of  whose  register 
is  controlled  by  a  different  stop-knob  from  the 
upper,  and  bears  a  different  na-ine. .  .Fliie-sto/>, 
one  composed  of  flnc-pipsi^. .  ./•'oundation-stop, 
one  of  normal  8-foot  pitch. .  .//al/stop,  incom- 
plete  or  imperfect  stop,  one  producing  (about) 
half  the  tones  of  the  full  scale  of  its  manual... 
Mechanical  stop,  one  not  having  a  set  of  pipes, 
but  governing  some  mechanical  device  ;  such 
are  the  couplers,  tremulant,  bell-signal,  etc... 
Mixture-stop,  one  with  2  or  more  ranks  of  pipes. 


«4o  Stop-knob— Stravagante 

thus  producing-  two  or  more  tones  for  each  key 
(as  the  Mixture,  Carillon,  Cornet,  Cymbal)... 
Mutatiott-stop,  one  producing  tones  a  major 
Third  or  perfect  Fifth  (or  a  higher  octave  of 
either)  above  the  8-foot  stops  (as  the  Tierce, 
Twelfth,  Quint)... /V?r/2a/ .y/(?^,  a  Half-stop... 
Pedal-stop,  a  stop  on  the  'ped.a.\ ..  .Reed-stop,  one 
composed  of  ve^d-pipes.  ..Solo-stop,  one  adapted 
for  the  production  of  characteristic  melodic 
effects,  whether  on  the  solo  organ  or  not. .  .Sound- 
ing  or  speaking  stop,  one  having  pipes  and  pro- 
ducing musical  tones.— 3.  (a)  On  the  violin,  etc., 
the  pressure  of  a  finger  on  a  string,  to  vary  the 
latter's  pitch  ;  a  double-stop  is  when  2  or  mors 
strings  are  so  pressed  and  sounded  simultane- 
ously; (b)  on  wind-instruments  with  finger-holes, 
the  closing  of  a  hole  by  finger  or  key  to  alter  the 
pitch  ;  {c)  on  wind-instruments  of  the  trumpet 
family,  the  partial  closing  of  the  bell  by  insert- 
ing the  hand. 

Stop-knob.    The  projecting  handle  of  a  STOP  i. 

Stopped  notes.  Tones  obtained  by  stopping  ;  op- 
posed to  open. 

Stopped  pipes.  Organ-pipes  closed  (plugged  or 
covered)  at  the  top  ;  opposed  to  open. 

Straccicalando  (It.,  straht-che-cah-Iahn'd6h).  Bab- 
bling, prattling. 

Strain.  In  general,  a  song,  tune,  air,  melody  ;  also, 
some  well-defined  passage  in,  or  part  of,  a  piece. 
—Technically,  a  period,  sentence,  or  short  divi- 
sion of  a  composition  ;  a  :notive  or  theme. 

Strappare  (It.,  strShp-pah'reh).  To  pluck  off  ;  in 
piano-playing,  to  throw  off  a  note  or  chord  by  a 
rapid,  light  turn  of  the  wrist. 

Strascicando  (It.,  strah-she-cahn'doh).    )  r^rae-e-ine" 

Strascinando  (It.,  strah-she-nahn'doh).  ' 

dvs.wMxi'^.  ..Strascinando  Varco,  drawing  the 
bow  so  as  to  bind  the  tones. 

Strascinare  la  voce  (It.,  strah-she-nah'reh  ISh  voh'- 
cheh).  To  sing  a  foj-tamento  with  exaggerated 
dragging  or  drawling. 

Strathspey  (strath-spay')-  A  lively  Scotch  dance, 
somewhat  slower  than  the  reel,  and  also  in  4-4 
time,  but  progressing  in  dotted  eighth-notes 
alternating  with  i6ths,  the  latter  often  preceding 
the  former  (Scotch  snap). 

Stravagante  (It.,  strah-vah-gahn'teh).  Extrava- 
gant, fantastic,  whimsical. 


Streichinstrumente — Stringere  i4X 

Streichinstrumente  (Ger.,  shtrTyh'in-stroo-men'- 
te>.     Bow-instruments. 

Streng  (Ger.,  shtreng'').    Severe(lj').  stricl(ly). 
Strepito,  con  (It.,  kohn  stra.'pe-t5h).  \ 

Strepitosamente  (strSh-pe-toh-sah-men'tfeh).    Vina 
Strepitoso  (It.,  strgh-pe-toh's6h).  ' 

noisy,  boisterous,  impetuous  style. 

Stretch.  On  a  keyboard  instrument,  a  wide  inter- 
val or  spread  chord  whose  tones  are  to  be  taken 
simultaneously  by  the  fingers  of  one  hand. 

Stretta  (It.,  stret'tSh).  A  closing  passage  (coda)  in 
swifter  tempo  than  the  one  preceding... A//a 
stretta.,  in  the  style  of  a  stretta. 

Strette  (Fr.,  stret).     A  Stketto. 

Strettissimo  (It.,  stret-tis'se-m5h).  Very  hurriedly. 

Stretto  (It.,  stret't6h).  A  division  of  a  fugue  (usu- 
ally a  final  development,  for  the  sake  of  effect)  in 
which  subject  and  answer  follow  in  such  close 
succession  as  to  overlap. 

Stretto,  -a  (It.,  stret'toh,  -tSh).    Pressed  together, 

narrowed;  hurried -indante  stretto,  same  as 

Andante  agitato... Stret  to  pedale.  the  quick,  deft 
shifting  or  the  loud  piano-pedal,  in  a  strongly 
marked  chord-passage,  so  that  the  harmonies 
may  be  at  once  forcible  and  distinct. 

Strict  style.  A  style  of  composition  in  which 
Unost)  dissonances  are  regularly  prepared  and 
resolved. 

Stridente  (It.,  stre-den't6h).  Strident  ;  rough, 
harsh  ;  viartellato. 

String.  A  tone-producing  cord... First  string:, 
the  highest  of  a  set . . .  Open  string,  one  not  stopped 
or  shortened. .  .J>V/f^r  string,  one  covered  with 
silver  wire ..  .Soprano  string,  the  £"-string  of  the 
violin.. .  7'/r^.!>/r///i^j,  the  string-group  in  the  or- 
chestra. 

Stringed  instruments.  All  instruments  whose 
tones  are  produced  by  strings,  whether  struck, 
plucked,  or  bowed. 

Stringendo  (It.,  strin-jen'd6h).  Hastening,  ac- 
celerating the  movement,  usually  sviddenly  and 
rapidly,  with  a  crescendo. 

Stringere  (It.,  strin'j^h-rfih").  To  hasten;  senza 
stnngere,  without  hastening. 


String-quartet— Subprincipal 


String-quartet,  A  quartet  for  ist  and  2d  violin, 
viola,  and  'cello. — Also,  the  string-group  in  the 
orehestra. 

String-quintet.  A  quintet  for  2  violins,  2  violas, 
and  'cello  ;  or  for  2  violins,  i  viola,  and  2  'celli ;  or 
for  2  violins,  viola,  'cello,  and  double-bass. — Also, 
the  string-group  in  the  orchestra. 

Stringy.  Having  the  quality  of  tone,  string-tone, 
peculiar  to  bow-instruments. 

Strisciando  (It.,  stre-shahn'doh).  Gliding,  smooth, 
legato. 

Stro'phic  composition.     See  SONG. 

Stuck  (Ger.,  sht«k).     A  piece  ;  a  number. 

Stiirmisch  (Ger.,  shttir'mish).  Stormy,  passionate, 
impetuous. 

Styrienne  (Fr.,  ste-re-enn').  An  air  in  slow  move- 
ment and  2-4  time,  often  in  minor,  with  a  Jodler 
(yodel)  after  each  verse  ;  for  vocal  or  instrumen- 
tal solo. 

Su  (It.,  soo).  On,  upon  ;  by,  TL%ax...Arco  in  su, 
up-bow. 

Suave  (It.,  soo-ah'veh).  \ 

Suavemente  (s66-ah-veh-men'teh).   y  ^^^^^  SOAVE^ 

Suavita,  con  (kohn  so6-ah-ve-tah').   ' 

Subbass',  Subbour'don.  An  organ-stop  of  16-  oj 
32-foot  pitch,  generally  on  the  pedal,  and  stopped. 

Subdom'inant.  The  tone  below  the  dominant  in  a 
diatonic  scale  ;  the  4th  degree. 

Subitamente  (It.,  s66-be-tah-men'teh).  I  c.jfifipTii-« 

Subito  (It.,  soo'be-toh).  C 

without  pause. . .  /  'o/tz  subito^  turn  over  (the  page) 
quickly. .  .p  subito  (after  /),  an  abrupt  change  to 
piano.,  without  gradation. 

Subject.  A  melodic  motive  or  phrase  on  which  a 
composition  or  movement  is  founded  ;  a  theme. 

Subme'diant.  The  3d  scale-tone  below  the  tonic; 
the  6th  degree. 

Suboc'tave.  i.  The  octave  below  a  given  tonft.— 
2.  The  double  contra-octave. 

SuborMinate  chords.  Chords  not  fundamerital  or 
principal ;  the  triads  on  the  2d,  3d,  6th  and  7th 
degrees,  and  all  seventh-chords  but  the  domi- 
nant 7th.  [pitch. 

Subprin'cipal.      A  subbass    pedal-stop  of   32-foot 


Substitution— Siiss 


'43 


Substitution.  In  contrapuntal  proijression,  the 
resolution  or  preparation  of  a  dissonance  by 
substituting,  for  the  regular  tone  of  resolution 
or  preparation,  its  higher  or  lower  octave  in 
some  other  part. 

Subton'ic.     The  leading-note. 

Suffocate  (It.,  s66f-f6h-kah't6h).     See  Soffocato. 

Sugli  (It.,  sooKye).  I  q^  ^,^^  .  ^^^^  ^j^^ 

Sui  (It.,  soo'e).         ) 

Suite  (Fr.,  s?Ve't').  A  set  or  series  of  pieces  in  va- 
rious (idealized)  dance-forms.  The  earlier  Suites 
have  4  chief  divisions  :  The  Allemande.Courante, 
Saraband,  and  Gigue  ;  other  forms  introduced 
at  will  (niterinezzi)  are  the  Bourree,  Branle,  Ga- 
votte, .Minuet,  Musette,  Passepied,  Loure,Pavane, 
etc.— The  modern  orchestral  Suite  is  more  like  a 
Divertimento. 

Suivez  (Fr.,  sve-va')-     i-  Same  as  COLLA  PARTE.— 

2.  "  Continue,"  "  go  on." 

Sul,  suir,  sul'Ia,  sul'Ie  (It.).     On  the,  near  the... 

Sulla  cor  da  La,  on  the  y^-string. .  .Sulla  tastier  a., 

near  or  by  the  fingerboard..  .o«/  ponticellty  near 

the  bridge. 
Superbamente  (It.,  s66-par-b3.h-men'tSh).  '.  pj-Qud- 
Superbo,  -a  (It.,  soo-par'boh,  -bSh).  > 

ly,  loftily.  [scale. 

Superdom'inant.     The  6th   degree    of    a    diatonic 
Super'fluous.     Augmented. 

6uperoc'tave.  i.  An  organ-stop  of  2-foot  pitch.— 
2.  A  coupler  bringing  into  action  keys  an  octave 
above  those  struck,  either  on  the  same  manual 
or  another.— 3.  The  octave  above  a  given  tone. 

Superton'ic.     The  2d  degree  of  a  diatonic  scale. 

Supplicando  (It.,  s66p-ple-kahn'd6h).  \ 

Supplichevole  (It.,  — ka'voh'lSh).  -  In    a 

SuppHchevolmente  (— k6h-v5hl  -  men 'tSh).  ' 
style  expressive  of  supplication,  entreaty,  plead. 
ing. 

Surprise  cadence.     See  CADENCE. 

Suspended  cadence.     See  CADENCE. 

Suspension.  A  dis»onance  caused  by  suspending' 
(holding  back)  a  tone  or  some  tone's  of  a  chord 
while  the  other  tones  progrciss. 

Siiss  (Ger.,  ztiss).    Sweet(ly), 


144  Sustain— Syrinx 

Sustain.  To  hold  during  the  full  time-value  (of 
notes) ;  also,  to  perform  in  sostenuto  or  legato 
style. 

Sustaining-pedal.  A  piano-pedal  which  holds  up 
dampers  already  raised  bv  depressed  keys,  thus 
prolonging  the  tones  of  all  strings  affected. 

Susurrando  (It.,  s66-s66r-rahnM6h).  )  jn  a  whisper- 

Susurrante  (It.,  s66-s66r-rahn'teh).    ' 
ing,  murmurous  tone.  [fainter  and  fainter. 

Svanirando    (It.,    zvah-ne-rahn'doh).     Vanishing  ; 

Svegliato  (It.,  zvehl-yah'toh).  Lively,  animated, 
brisk. 

Svelto  (It.,  zvel'toh).    Light,  nimble. 

Swell.  I.  In  the  organ,  a  set  of  pipes  enclosed  in 
a  box  with  movable  shutters  which  may  be  op- 
ened and  closed  by  a  pedal.— 2.  The  swell  organ 
(the  pipes  enclosed,  and  their  keyboard).— 3.  A 
crescendo  (  -^^i^IZ  ).  or  crescendo  and  diminuen- 
do  ( •"         Z  I — ■  )•  [to  a  separate  syllable. 

Syllabic  melody.     One  each  tone  of  which  is  sung 

Syllabla-name.  A  syllable  taken  as  the  name  of  a 
note  or  tone  ;  as  Do  for  C. 

Symphonic.  Resembl  ing,  or  relating  or  pertaining 
to,  a  symphony. .  .5vw///(?«/c  ode^  a  symphonic 
composition  combining  chorus  and  orchestra... 
Symphonic  poetHy  an  extended  orchestral  compo* 
sition  which  follows  in  its  development  the  thread 
of  a  story  or  the  ideas  of  a  poem,  repeating  and 
interweaving  its  themes  appropriately  ;  it  has  no 
fixed  form,  nor  has  it  set  divisions  like  those  of 
the  symphony. 

Symphony.  An  orchestral  composition  in  from  3 
to  5  distinct  "movements,"  or  divisions,  each 
with  its  own  theme  or  themes  and  its  own  devel- 
opment. Usual  plan  :  I.  Allegro  (first-move- 
ment form,  often  with  a  slow  introduction) : 
II.  Adagio  ;  III.  Scherzo  ;  IV.  Allegro  or  Presto. 

Syn'copate.  To  eflfaae  or  shift  the  accent  of  a 
tone  or  chord  falling  on  a  naturally  strong  beat, 
by  tying  it  over  from  the  preceding  weak  beat} 
the  latter  then  (generally)  takes  the  accent. 

Syncopated  pedal.  The  release  of  the  damper- 
pedal  on  striking  a  chord,  followed  by  immedi« 
ate  depression  of  the  pedal. 

Syncopa'tion.  The  tying-over  a  weak  beat  to  tha 
next  strong  beat. 

Sy'rinx.     Pandean  pipes. 


T— Tastiera  145 


T  stands  for  Tasto,  Tempo,  Tenor,  Toe  (in  organ- 
music),  Tre  (T.  C  —  ire  corde),  and  Tutti. 

Tab'lature.  i.  The  rules  and  regulations  for  the 
poetr}'  and  song  of  the  Meistet-singer. — 2.  Early 
musical  notation  for  the  lute,  viol  and  organ. 

Tace  (It.,  tah'cheh).  \ 

Taci  (It.,  tah'che).     y"  Is  silent ";  an  instrumental 

Tacit  (Latin).  ' 

or  vocal  part   so  marked  is  omitted  during  the 
movement  or  passage  in  question. 

Tail.     Same  as  STEM. 

Takt  (Ger.,  tS.hkt).  A  beat;  a  measure  ;time...J5/» 
Takt  wie  vor/ier  z'wei\  one  measure  like  two  be- 
fore (same  as  Doppio  MOViMENTO)...6Vre«^  ?>« 
Takt,  strictly  in  time. 

Tambourine  (-ren').  A  small,  shallow  drum  with 
one  head  of  parchment  ;  played  by  striking  it 
with  the  right  hand.  Around' the  hoop  are  sev- 
eral pairs  of  loose  metallic  plates  csLWadJiii^^les. 

Tam'-tam.  i.  A  gong.— 2.  The  Hindoo  drum.  (Also 
Tom-tojn). 

Tandelnd  (Ger.,  ten'delnt).  In  a  toying,  bantering 
style. 

Tantino  (It.,  tShn-te'noh).     A  little  ;  very  little. 

Tanto  (It.,  tahn'toh).  As  much,  so  much ;  too 
(much). .  .Allegro  non  ianto.  not  too  fast. .  .A  tan* 
to  possibile,  as  inuch  as  possible. 

Tanz  (Ger.,  tShnts).     A  dance. 

Tarantella  (It.,  tah-rShn-tel'iah).        >  ^    ^^^^^    ^^ 

Tarantelle  (Ger.,  tih-rahn-tel'le).  ' 
southern  Italy,  in  6-8  time,  the  rate  of  speed 
gradually  increasing,  and  the  mode  alternating 
between  major  and  mmor. — Also,  an  instrumen- 
tal piece  in  3-8  or  6-8  time,  very  rapid  tempo,  and 
bold  and  brilliant  style.  [geringly. 

Tardamente    (It.,    tSr-dah-men'tgh).     Slowly,    lin- 

Tardando  (It.,  tar-da.hn'd6h).    Delaying,  retarding. 

Tardato  (It.,  tar-dah't6h).  Delayed,  slower  ;  re- 
tarded. 

Tardo  (It.,  tar'd6h).     Slow,  lingering. 

Tarentelle  (Fr.,  tah-rShn-tel').     T.-vr.\N'TELLA. 

Tastiera  (It.,  tah-.ste-a.'rah).  Keyboard  ;  finger- 
board... .i)'«//a  /jj//^ra,  on  (near)'the  fingerboard. 


146  Tasto— Tempo-mark 

Tasto  (It.,  tah'stoh).  Key;  fret;  touch;  finger- 
board; sill  tasto,  on  (near)  the  fingerboard... 
Tasto  solo  means,  that  the  bass  part  is  to  be 
played,  either  as  written  or  in  octaves,  without 
chords. 

Te  stands  for  Si,  in  Tonic  Sol-fa. 

Technic  (tek'nik),  Technique  (Fr.,  tek-nek').  All 
that  relates  to  the  purely  mechanical  part  of  in- 
strumental or  vocal  performance  ;  mechanical 
training,  skill,  dexterity. 

Tedesco, -a  (It.,  teh-deh'skoh,  -skah).  German... 
Alia  tedesca,  in  the  German  style  (in  waltz- 
rhythms,  with  changing  tempo). 

Tema  (It.,  ta'mah).    Theme. 

Tem'perament.  A  system  of  tuning  in  which 
tones  of  verv  nearly  the  same  pitch,  like  C  sharp 
and  D  flat,  are  made  to  sound  alike  by  slightly 
"tempering"  them  (that  is,  slightly  raising  or 
lowering  them).  When  applied  to  all  the  tones 
of  an  instrument  (as  the  piano),  this  system  is 
called  "equal  temperament";  when  only  the 
keys  most  used  are  tuned  (as  was  done  formerly), 
the  temperament  is  "unequal." 

Tempestosamente    (It.,    tem-peh-stoh- 1 

sah-men'teh).  >  Stormily, 

Tempestoso  (It.,  tem-peh-stoh'soh).  J 

passionately,  impetuously. 

Tempo  (It.,  tem'p6h).  1.  Rate  of  speed,  move- 
ment.—2.  Time,   measure -i    tempo,  return  to 

the  preceding  pace.../«  tempo,  same  as  A  TEM- 
PO ;  sempre  hi  tetnpo,  always  at  the  same  pace  ;  in 
tempo  rnisurato,  in  strict  time  (after  "  a  piacere'^). 
. . .  Tempo  com{m)odo,  at  a  convenient  pace. . .  />?«• 
po  di  Ballo,  Bolero,  Mitiuetto,  etc.,  in  the  move- 
ment of  a  Ballo,  Bolero,  etc. . .  Tempo giusto,  at  a 
proper,  appropriate  -psiCQ ...  Tempo  rubato.  see 
^\jV,K'iO...L'istesso  tefnpo,  or  Lo  stesso  tempo, 
the  same  tempo ;  indicates,  at  a  change  of 
rhythm,  that  the  pace  remains  the  same. .  .Senza 
tempo,  same  as  A  PI  ACE  RE. . .  Tetnpo  prima,  at  the 
original  pace. 

Tempo-mark.  A  word  or  phrase  indicating  the 
rate  of  speed  at  which  a  piece  should  be  per- 
formed. Thus  "Adagio,  M.M.  J=  56,"  signifies 
a  tranquil  movement  in  which  a  quarter-note 
has  the  time-value  of  one  beat  of  the  metronome 
set  at  56.    (See  page  xvi.) 


Tenendo— Text  147 


Tenendo  (It.,  t6h-nen'd6h).     Sustaining. 
Teneramente  (It.,  t6h-neh-ra.h-men'tSh).  1 
Tenerezza,  con  (k5hn  t6h-nSh-ret'sah).     >  Tender- 
Tenero  (It.,  ta'neli-roh).  ' 

ly,  with  tender  emotion  ;  delicately,  softly. 
Tenor,  The  high  natural  male  voice  ;  the  dramat' 
ic  te?ior,  of  full  and  powerful  quality,  has  a 
range  from  c  to  b^'y  ;  the  lyric  tenor,  sweeter  and 
less  powerful,  from  di'to  c"^  (or  c^S). — 2.  The  viola. 
— 3.  A  prefix  to  the  names  of  instruments  of  sim- 
ilar compass  ;  as  tenor  trombone. 

Tenor  C.     Small  c  :    <^— ^— 

Tenor-clef.     The  C-clef  on  the  4th  line. 

Tenore  (It.,  teh-noh'reh).    Tenor. 

Tenor  violin.     The  viola. 

Tenth,  i.  The  diatonic  interval  of  an  octave  plus 
2  degrees. — 2.  Same  as  Deci.ma  2. 

Tenute  (It.,  tSh-noo'teh).     Sustain  the  notes. 

Tenuto  (It.,  teh-noo'toh).  "  Held  ";  means  id)  gen- 
erally, that  a  tone  so  marked  is  to  be  sustained 
for  its  full  time-value  ;  (b)  occasionally,  legato. .. 
Forte  tenuto  {f  ten.),  forte  throughout...  Tenuto- 
viark,  a  short  stroke  over  a  note. 

Tepidamente  (It.,  teh  -  pe -ddh  -  men'tSh).  Luke- 
warmly ;  in  an  even,  unimpassioned  style. 

Ternary.  Composed  of,  or  progressing  by,  threes. 
. . .  Ternary  form.  Rondo-form. . .  Ternary  meas- 
ure, simple  triple  time.  [-^  larigot  combined. 
Tertian.  An  organ-stop  consisting  of  a  tierce  and 
Terz  (Ger.,  tarts).  J  ^^^  interval  of  a  Third. 
Terza  (It.,  tar'tsSh).  ' 

Ferzett  (Ger.,  tar-t.setO.      '  properly,  a  vocal  trio 

Terzetto  (It.,  tar-tset'toh).  ) 
(seldom  an  instrumental  one). 

Tessitura  (It.,  tes-se-too'rah).  The  range  covered 
by  the  main  body  of  the  tones  of  a  given  part, 
not  including  infrequent  high  or  low  tones.  In 
English  we  say  that  the  part  "  lies  "  high  or  low. 

Tet'rachord.  The  interval  of  a  perfect  Fourth  -,  tha 
four  scale-tones  contained  in  a  perfect  Fourth. 

Tetral'ogy.  A  connected  series  of  4  stage-works 
or  oratorios. 

Text.     Word*  to  which  music  is  set. 


148  Thematic  composition-  Time 

Thematic  composition.  A  style  based  on  the  con- 
trapuntal treatment  or  development  of  one  or 
more  themes.    (Invention,  Fugue,  Canon.) 

Theme.  A  Subject.— Specifically,  a  theme  is  an 
extended  and  rounded-off  subject  with  accompa- 
niment, in  period-form,  proposed  as  a  ground- 
work for  elaborate  variations  (7Va««  con  varia- 
zioni).  Qute. 

Theor'bo.     A  kind   of  large,   double-necked  bass 

Thesis.     Down-beat,  strong  beat. 

Third,  An  interval  embracing  3  degrees.  Also, 
the  third  degree  of  the  scale,  the  Mediant. 

Thirteenth.  An  interval  embracing  an  octave 
and  a  Sixth  ;  a  compound  Sixth.  r^jj 

Thirty-second-note.     See  ELEM.  OF  NOTATION,  p. 

Thorough-bass.  A  kind  of  musical  shorthand  in 
which  chords  are   indicated  by  figures  written 

.  over  a  bass  part. 

Three-lined  octave.    See  Elem.  OF  NOTATION,  p,  v. 

Three-step.     The  ordinary  (Vienna)  waltz. 

Three-time,  3-time.     Triple  time.  i-p   ^ 

Thrice-accented  octave.    See  Elem.  OF  NOTATION, 

Thumb-position.  The  high  positions  in  'cello- 
playing,  where  the  thumb  quits  the  neck  of  the 
instrument. 

Tie.  A  curved  line  joining  2  notes  of  like  pitch 
which  are  to  be  sounded  as  one  note  equal  to 
their  united  time-value. 

Tied  notes,  i.  Notes  joined  by  a  tie. — 2.  Notes 
whose  hooks  are  run  together  P^^i  p^^ 
in  one  or  more  thick  strokes  :        mmmm    mtmmJ 

Tierce,  i.  A  Third. — 2.  In  the  organ,  a  mutation- 
stop  pitched  2'/^  octaves  above  the  Diapason. — 
3.  One  of  the  Canonical  Hours. 

Timbale  (Fr.,  tan-bahlO.        kettledrum. 

Timballo  (It.,  tim-bahl'loh).  » 

Timbre  (Fr.,  tSn'br).    Quality  of  tone. 

Timbrel  (Hebrew).     A  tambourine  or  tabor. 

Time.  r.  The  division  of  the  measure  into  equal 
fractional  parts  of  a  whole  note  (  ^  ),  thus  regu- 
lating the  accents  and  rhythmic  flow  of  music. 
The  sign  for  time  is  the  time-signature  (see  be- 
low). There  are  2  classes  of  time.  Duple  and 
Triple.  In  Duple  time  the  number  of  beats  to  the 
measure  is  divisible  by  2  ;  in  Triple  time.,  by  3. 


Timidamente— Tonpue  149 

^  

There  are  also  2  sub-classes,    Compound  Duple 
time  and  Cotnf'ound  Triple  time ;  in  the   former 
each  beat  contains  a  dotted   note  (or  its  equiva- 
lent in  other  notes  or  rests)  divisible  by  3  ;  in  the 
latter,   not    only    the   number  of    beats  in   each 
measure  is  divisible  by  3,  but  also  each   beat,  as 
above, 
Timidamente  (It.,  te-me-d3,h-men't§h). 
Timidezza,  con  (kuhn  te-me-det'sSh). 
Timido  (It.,  te'me-d6h). 
Timore,  con  (It.,  k6hn  te-moh'r$h).  f  ^° 

Timorosamente  (It.,  te-m^h-roh-sSh-men'tSh).  | 
Timoroso  (It.,  te-m5h-roh's6h).  J 

a  style  expressive  of  timidity,  hesitation,  or  fear. 
Timpani  (It., //«rtz/;  tim^pSh-ne).    Kettledrums... 
Timpani  coper ti,  muffled  drums.  fpressively. 

Tinto,  con  (It.,  k6hn  tin'toh).  With  shading;  ex- 
Toccata  (It.,  tohk-kah'tSh).  A  composition  for 
organ  or  harpsichord  (piano),  free  and  bold  in 
style,  consisting  of  runs  and  passages  alternating 
with  fugued  or  contrapuntal  work,  generally  in 
equal  notes,  with  a  flowing,  animated,  and  rapid 
movement.  ftave-scale. 

Ton  (Ger.,  tohn).  A  tone  ;  key  ;  mode  ;  pitch  ;  oc- 
To'nal.  Pertaining  to  tones,  or  to  a  tone,  mode, 
or  key. . .  Tonal futrue,  see  FUGUK. .  Tonal  imita- 
tion, imitation  within  the  key  c*  a  composi- 
tion ;  non-modulating  imitation. 
Tonal'ity.  The  term  Tonality  h>»6  a  broader 
meaning  and  wider  scojie  than  Kev.  Key  denotes 
simply  the  mode  of  a  piece,  and  the  pitch  of  that 
mode  ;  strictly  speaking,  it  refersonlv  to  harmo- 
nies constructed  from  the  tones  of  its  own  dia- 
tonic scale,  based  on  the  tonic  chord  as  the  start- 
ing-point and  point  to  which  they  return  ;  where- 
as Tonalitv  includes  any  and  every  harmony  re- 
lated to  this  tonic  chord.  So  long  as  no  actual 
change  of  tonic  (modulation)  occurs.  fous. 

Tonante  (It.,  toh-nAhn't6h\     Thundering,  thunder- 
Tonart  (Ger.,  tohn'art).     Key  (tonality). 
Tone.      See   ACOUSTICS. .  .Half-tone,   a    minor,  or 
chromatic,  Second. . .  Whole  tone,  a  major  Second. 
Tone'-color.     Quality  of  tone. 

Tongue  (noun).  A  reed :  (verb)  to  employ  the 
tongue  in  producing,  modifying,  or  irterru'pting 
the  tones  of  certain  wind-instruments. 


I50  Tonguing— Transcendental 

Tonguing.  The  production  of  tone-effects  on 
wind-instruments  by  the  aid  of  the  tongue... 
Single-ton^uin,i^^  the  effect  obtained  by  the  re- 
peated tongue-thrust  to  the  nearly  inaudible 
consonant  t  ox  d  \  Doiible-tonguing^  that  obtained 
by  the  repetition  oi  t  k\  Triple-tongning^  \>y  t  k 
t  \  etc. 

Ton'ic.  I.  The  keynote  of  a  scale.— 2.  The  triad 
on  the  keynote  (tonic  chord). . .  Tonic pedal^  organ- 
point  on 'the  keynote. ..  7"i3«iV  section,  a.  section 
or  sentence  in  the  key  in  which  the  composition 
began,  with  a  cadence  to  the  tonic  of  that  key. 

Ton'ic  Sol-fa'.  A  method  of  teaching  vocal  music, 
invented  by  Miss  Sarah  Ann  Glover  of  Norwich, 
England,  about  1812.  Pupils  are  taught  to  recog- 
nize the  tones  of  the  scale  by  observing  the  men- 
tal impressions  peculiar  to  each  tone.  It  is  based 
on  the  Movable-Do  system,  and  uses  fne  sylla- 
bles doh,  raj/,  me.fah,  so/i,  lah,  te. 

Tornando  (It.,  tohr-nahn'doh).  Returning ;  tor- 
naiido-al  primo  tempo,  or  ternando  cotne  prirna^ 
returning  to  (resuming)  the  original  tempo. 

Tostamente  (It.,  toh-stah-meu'teh).  Rapidly  and 
boldly. 

Tostissimamente    (It.,  toh-st'a-se-mah-men'teh).  > 

Tostissimo  (It.,  toh-stis'b6-moh).  ) 

Extremely  fast. 

Tosto  (It.,  to'stoh).  Swi't  bold;  soon.  ..Allegro 
inolto,  pin  tosto  presto,  very  fast,  nearly  presto. 

Touch.     1.  The  method  and  manner  of  applying  thti 
fingers  to  the  ke\  s   of    keyboard   instruments.— 
2.  The  amount  and  kind  of  resistance  overcoma 
by  the  fingers  in  depressing  the  keys  of  an  organ 
or  piano  ;  a?  ■».  heavy  or  light  touch,  an  elastic 
touch. 
Tragicamente    <Tt,,  trah-je-kah-men'teh).     Trag- 
ically. 
Tranquillamenve    (It.,   trahn-kwil-iah-men'teh).  ^ 
Tranquillezza,  con  (kohn  trahn-kwil-let'sah).         I 
Tranquillita,  ^on  (kohn  trahn-kwil-le-tah').  1 

Tranquillo  (K.,  trahn-kwil'loh).  J 

Tranquill}',  quietly,  calmly. 

Transcendental.  The  piano-style  of  Liszt  and  his 
followers  ;  so-called  because  i«r/^z5i-/«^ the  play- 
ing of  former  pianists,  and  overpassing Vn.^  limits 
of  the  piano  by  imitating  the  orchestra. 


Transcription— Tremolo 


Transcription.  The  arrangement  or  adaptation  of 
a  piece  for  some  voice  or  instrument  other  than 
that  for  which  it  was  originally  intended. 

Transient.  Passing;  not  principal  ;  interm^afate. 
...Transient  chord,  ■a.n  intermediate  chord  for- 
eign both  to  the  key  left  and  that  reached... 
Transient  modulation,  a  temporary  modulation, 
soon  followed  by  a  return  to  the  key  left. 

Transition,  i.  Modulation,  especially  a  transient 
one.— 2.  In  Tonic  Sol-fa,  a  modulation  without 
change  of  mode.  ^in  a  different  key. 

Transpose.     To  perform  or  write  out  a  composition 

Transposing  instruments,  i.  Instruments  whose 
natural  scale  is  always  written  in  C  major,  re- 
gardless of  the  actual  pitch. — 2.  Instruments 
having  some  device  by  which  the  action  or 
strings  can  be  shifted  so  that  higher  or  lower 
tones  are  produced  than  when  they  are  in  the 
normal  position. 

Transverse  flute.     Cross-flute.     (See  Flute.) 

Trascinando  (It.,  trah-she-nahn'd6h).  Dragging, 
delaying. 

Trasporto,  con  (It.,  k5hn  trah-spor'toh).  With 
transport,  ecstatically.  [tarded 

Trattenuto  (It.,  traht-t6h-noo't6h).     Held  back,  re- 

Traurig  (Ger.,  trow'riyh).     Sad,  melancholy. 

TraversflSte  (Ger.,  trah-vars'flo'tS).  The  cross- 
flute;  or,  a  4-foot  organ-stop  resembling  it  in 
timbre. 

Tre  (It.,  tra).  Three... ^  /r*?,  for  three  voices  or 
instruments;  a  tre  voci,  for  (in)  three  parts... 
Tre  corde,  see  Una  corda. 

Treble.     Soprano. ..  7>^(^/^  i:/</",  the  6^-clef  : 
Treibend  (Ger.,  tri'bent).    Urging,  hastening. 
Tremando  (It.,  tr6h-mahnM6h).      j 
Tremante  (It.,  trSh-mibn'teh).        [•  ^efflct^""^™"'"* 
Tiemolando(treh-m6h-iahn'd6h).  J 

Tremolo  (It.,  tra'm6h-16h).  A  quivering,  flutter- 
ing.    1.  In  singing,  a  tremulous,  unsteady  tone. — 

2.  On   bow-instruments,    an     effect      ^ 

produced  by  the  very    rapid    alter-      ySL c^z 

nation  of    down-bow    and    up-bow,      ^y^l^ 
written  :  tJ  ^^ 

3.  On  the  piano,  the   rapid    alternation    of    the 
tones  of  a  chord. — 4.  The  effect  produced  by  the 


ES2  Tremoloso— Trochee 

tremolo-stop^    or    tremulant   (organ). — 5.    The 
Tremulant.  ^lous^  flutterinj,-  effect. 

Tremoloso  (It.,  treh-moh-loh'soh).     With  a  tremu- 

Tremulant.    The  tremolo-stop  in  an  organ. 

Tres  (Fr.,  tra).    Very  ;  molto. 

Triad.  A  "three-tone  "  chord  composed  of  a  given 
tone  (the  Root)  with  its  Third  and  Fifth  in  as- 
cending order  in  the  scale. 

Triangle.  A  steel  rod  bent  into  triangular  shape, 
with  one  corner  left  slightly  open  ;  it  is  struck 
with  a  metal  wand. 

Trichord  piano.  One  having  3  strings  (unisons)  to 
each  tone  throughout  the  greater  part  of  its 
compass. 

Trill.  The  even  and  rapid  alternation  of  two 
tones  a  major  or  minor  Second  apart;  the 
lower  tone  is  the  prt?ictpal  note,  the  higher  tone 
the  auxiliary.    Sign  tr  or  tr  --*^--— ^. 

Triller  (Ger.,  tril'ler).  U  ^.^.^jj 

Trillo  (It.,  tril'loh).       * 

Trio  (It.,  tre'oh).  i.  A  piece  for  3  voices  or  in  3 
parts.— 2.  In  minuets,  marches,  etc.,  the  trio  or 
alternativo  is  a  division  set  between  the  first 
theme  and  its  repetition,  and  contrasting  with  it 
by  a  more  tranquil  movement  and  cantabile  style. 

Triole  (Ger.,  tre-oh'le).  [triplet. 

Triolet  (Fr.,  tre-oh-la').  ' 

Trionfale  (It.,  tre-ohn-fah'leh).     Triumphal. 

Trionfante  (It.,  tre-ohn-fahn'teh).    Triumphant, 

Triple  counterpoint,  time,  tonguing.  See  the 
nouns. 

Triplet.     A  group  of  3  equal  notes  to  be  perfermed 

in  the  time  of    2  of    like  value  in  the  regular 

rhythm;         3  ""'^""^        p 

m  m  m      m   m   m      m 

■written :    |     |      I  or  I     I      I   or  | 

Tristezza,  con  (It.,  kohn  tri-stet'sah).  I  j  stvle 

Tristo,  -a  (It.,  tri'stoh).  ^ 

expressive  of  sadness,  melancholy. 

Tritone.     The  interval  of  3  whole  tones, 
or  the  augmented  Fourth  : 

Trochee  (tro'ke).  A  metrical  foot  of  two  syllables, 
long  and  short,  accent  on  the  first  •.  ^-  >-'. 


Tromba— Tuning 


•I'romba  (It.,  tr5hm'bah).  A  trumpet. .  .Tromda 
marina  (mah-re'n5.1i),  the  Marine  trumpet,  Sea- 
trumpet,  an  ancient  single-stringed  bow-instru- 
ment the  tone  being  so  powerful  that  it  was 
formerly  used  in  the  English  navy  for  signalling. 

Trombone.  A  metal  wind-instrument  of  the 
trumpet  family,  whose  distinguishing  feature  is 
the  U-shaped  slide,  by  which  the  tones  are  modi- 
fied in  pitch.     Its  ordmary  compass  is  2J4  octaves. 

Tronco,  -a  (It.,  trohn'kSh,  -kSh).  Cut  off  short  ; 
stopped  abruptly. 

Troppo  (It.,  trop'poh).  Too,  too  mnch... Allegro^ 
ma  7ion  troppo^  rapid,  but  not  too  fast. 

Troubadours.  A  class  of  poets  and  musicians  orig- 
inating in  Provence,  and  flourishing  in  France, 
vSpain  awd  Italy  from  the  nth  century  till  to- 
ward the  close  of  the  13th. 

Trub(e)(Ger.,trup,  trii'be).  Gloomy,  dismal  ;  sad, 
melancholy. 

Trumpet.  A  metal  wind-instrument  with  cupped 
mouth-piece  and  small  bell  ;  the  tone  is  brilliant, 
penetrating,  and  of  great  carrying  power.  It  is 
a  transposing  instrument ;  the  ordinary  compass 
is  about  2  octaves.— In  the  organ  the  Trumpet  is 
an  8-foot  reed-stop  of  powerful  tone. 

Tuba.  1.  The  straight  trumpet  of  the  Romans. — 
2.  A  name  applied  to  the  3  lowest  members  of 
the  Saxhorn  family  ;  they  are  metal  wind-in- 
struments of  ponderous  tone,  with  a  compass  of 
some  4  octaves. — 3.  In  the  organ,  a  reed-stop 
{tuba  mirabilis)  on  a  heavy  pressure  of  wind,  of 
very  powerful  and  thrilling  tone. 

Tumultuoso  (It.,  too-m661-too-oh's6h).  Vehement, 
impetuous  ;   agitated. 

Tune.  An  air,  melody  ;  a  term  chiefly  applied  to 
shert,  simple  pieces  or  familiar  melodies. 

Tuning.  1.  The  process  of  bringing  an  instrument 
into  tune. — 2.  The  accordatura  of  a  stringed 
instrument. . .  Tum'ng-cofie,  a  hollow  cone  of  met- 
al, for  tuning  metal  flue-pipes  in  the  organ... 
Tuning-crook,  s.  Ckook  ■^...Tuninjir.fork.  a  two- 
pronged  instrument  of  metal,  yielding  one  fixed 
tone  (usually  a^  or  c'). . .  Tuning-hammer^  a  hand- 
wrench  for  tuning  pianos. . .  Tuning-horn,  a  Tun- 
ing-cone...  Zmw/w.ji;^-^^''  ^  Tuning- hammer. . . 
Tuning-slide,  a  sliding  U-shajjed  section  of  the 
tube  in  certain  brass  instruments,  used  to  adjust 
their  pitch  to  that  of  other  instruments. 


154  Turco— Uno 


Turco,  -a  (It.,  toor'koh,  -kah).  Turkish.  ..^//a  tur. 
ca,  in  Turkish  style,  with  a  noisy  and  somewhat 
monotonous  harrnonic  accompaniment. 

Turn.  A  melodic  grace  consisting  (usually)  of  4 
notes,  a  principal  note  (twice  struck)  with  its 
higher  and  lower  auxiliary.     Sign  snj  . 

Tutto,  -a  (It.,  toot'toh,  -tah).  All,  whole  ;  C07i  tutta 
la  for  za^  or  tut  fa  forza,  with  full  power  or 
strength. . .  Tiitti  (toot'te),  in  scores,  indicates  the 
entrance  of  the  whole  body  of  instrumentalist^ 
or  vocalists  after  a  Solo. . .  Tutto  arco,  whole  bow. 

Twelfth.  I.  The  interval  of  an  octave  plus  q 
Fifth  ;  a  compound  Fifth.— 2.  A  mutation-stop  in 
the  organ,  pitched  a  Twelfth  higher  than  the 
Diapason. 

Twenty-second.     A  triple  octave. 

Twice-accented.     See  TWO-LINED. 

Two-lined  octave.     See  Elem.  OF  NOTATION,  p.  v. 

Two-time,  2-time.     Duple  time. 

Tym'pano.     Same  as  Timpano. 

Tyrolienne  (Fr.,  te-roh-FyenO.  A  Tyrolese  danca 
or  dance-song,  a  peculiar  feature  of  the  latter 
being  the  yodel,  especially  as  a  refrain.— Hence, 
a  modern  round  dance  in  3-4  time  and  easy 
movement. 

u 

tjben  (Ger.,  ii'ben).     To  practise. 

ijber  (Ger.,  ii'ber).     Over,  above. 

ijbermassig  (Ger.,  u'ber-ma'siyh).     Augmented. 

tJbung  (Ger.,  li'boong^).     Exercise  ;  practice. 

Uguale  (It.,  00-gwah'leh).     Equal,  like,  similar. 

Ugualita,  con  (It.,  kohn  oo-gwah-le-tah').  \  Equal- 

Ugualmente  (It.,  00-gwahl-men'teh).  ' 

ly,  similarly;  evenly,  smoothly,  tranquilly. 

Umano,  -a  (It.,  oo-mah'noh,  -nS.h).  Human.., 
Voce  imiana^  Vox  humana  ;  Cor  anglais. 

Umore,  con  (It.,  kohn  oo-moh'reh).     With  humor. 

Un  (Fr.,  on).    \  One  ;  a  or  an. . .  6^«  pen  plus  lent^  a 

Une  (Fr.,  tin).  )      li"le  slower. 

Un  (It.,  oon).  f  Qjjg.  s,oxSin...U7iacorda, 

Uno,  -a  (oo'noh,  -nah).  ' 
with  the  soic  pedal;   Tre  corde  then  means,  re- 
lease the  soft  pedal. 


Unaccented  octave— Unvocal  155 

Unaccented  octave.     The  small  octave. 

Un'da  ma'ns  (Latin,  "Wave  of  the  sea").  In  the 
orgiin,  an  8-foot  flue-stop  pitched  a  trifle  lower 
than  the  surrounding-  foundation-stops,  the  inter- 
ference  of  its  tone  with  theirs  producing  beats 
and  a  wavy,  undulatory  effect  of  tone. 

Undec'uplet.  A  group  of  u  equal  notes  to  be  per- 
formed in  the  time  of  8  (or  6)  notes  of  like  value 
in  the  regular  rhythm. 

Undulazione  (It,  66n-doo-13.h-tse-oh'n6h).  On  bow- 
instruments,  the  vibrato  effect  (Vibrato  i). 

Unequal  temperament.     See  Tempp:kament. 

Unequal  voices.  Voices  different  in  compass  and 
quality  ;  mixed  voices. 

Ungebunden  (Ger.,  66n'ge -boon  Men).  Uncon- 
strained ;  rnit  tingebtindenem  Huvior^  with  un- 
constrained huraor,  burlatido. 

Ungeduldig  (Ger.,  oon'ge-dool'diyh).  Impatient(ly). 

Ungestiim  ((ier.,  oon'ge-shtflm').     Impetuous(ly). 

Ungherese  (It.,  66n-ga-ra'seh).     Hungarian. 

Unison.  A  tone  of  the  same  pitch  as  a  given  tone; 
also,  a  higher  or  lower  octave  of  the  given  tone. 
—In  the  piano,  a  group  of  2  or  3  strings  tuned  to 
the  same  pitch  and  struck  by  one  hammer,  is 
called  a  um'son;  a  string  in  such  a  group  is  called 
a  iiniso7i-strinff. 

Unisono  (It.,  oo-ne'soh-noh).  Unison.  ..^//'««i- 
sono^  progressing  in  unison  with  or  in  octaves 
with.  [together. 

Unitamente    (It.,    oo-ne-t3.h-men'teh).      Unitedly, 

Uniti  (It.,  oo-ne'te).  This  signifies,  after  "■divi'si,''* 
that  the  instruments  or  voices  again  perform 
their  parts  in  unison. 

Unito,  -a  (It.,  oo-ne'toh,  -t3.h).    United,  joined. 

Uno  (It.).     See  UN. 

Unruhig  (Ger.,  63n'roo'iyh).  Restless(ly),  unqui- 
et(ly). 

Unschuldig  (Ger.,  66n'sh661'diyh).    Innocent(ly). 

Unter  (Ger.,  66n'ter).     Under,  below,  sub-. 

Untersatz  (Ger.,  66n'ter-za,hts').     Subbass. 

Unvo'cal.  i.  Not  suitable  for  singing.— 2.  Not  vi» 
brating  with  tone  ;  unvocal  air  is  breath  escaping 
with  a  more  or  less  audible  sigh  or  hiss,  due  to 
unskilful  management  of  the  voice. 


156  Up-beat— Varie 

Up'-beat,  I.  The  raising  of  the  hand  in  beating 
time. — 2.  An  unaccented  part  of  a  measure  (see 

AUFTAKT). 

Up'-bow.  The  stroke  of  the  bow  in  the  direction 
from  point  to  nut ;  the  Up-bow  mark  is  V  or  A- 

Ut.  I.  The  first  of  the  solmisation  syllables.— 2- 
Name  of  the  note  Cin  France  (pronounced  iit). 


V  stands  for  Vide^  Violino^  Voltt,  and  Voce:  Vv.^ 
for  Vwlini. 

Va  (It.,  vah).  Go  on,  continue. ..  Fa  crescendo,  go 
on  increasing  (in  loudness). 

Vacillando  (It.,    vah-che-lahnMoh).  |   Vacillatine  • 

Vacillante  (It.,  vah-che-lahn'teh).      1  ^  ' 

means  that  the  passage  is  to  be  performed  in  a 
wavering,  hesitating  style. 

Vago  (It.,  vah'goh).     Vague,  dreamy. 

Valse  (Fr.,  vahls).  ^ &\t7.. .  .Valse  chantee,  waltz- 
song. ..  Fa/i-^  de  salon,  a  j-a/tJn-piece  in  walta- 
time  for  the  piano. 

Value.  The  value  (better  time-value)  of  a  note  or 
rest  is  its  length  or  duration  as  compared  {a)  with 
other  notes  in  the  same  movement,  or  (b)  with 
the  standard  whole  note  iS"  or  any  fractional  note. 

Valve.  In  brass  wind-instruments,  a  device  for 
diverting  the  air-current  from  the  main  tube  into 
an  additional  side-tube,  thus  lengthening  the 
air-column  and  lowering  the  pitch  of  the  instru- 
ment's entire  scale.  There  are  jPi'slon-valves 
and  Rotary  valves. 

Valzer  (It.,  vahl'tser).     Waltz. 

Variamente  (It.,  vah-re-ah-men'teh).  Variously, 
differently. 

Variante  (U.,  vah-re-Shn'teh).  j.  a  variant ;  a  differ- 

Variante  (Fr.,  vah-re-ahn't').    ' 
ent  (optional)  reading.     (See  OssiA.) 

Variation.  One  of  a  set  or  series  of  transforma- 
tions of  a  theme  (see  THEME)  by  means  of  har- 
monic, rhythmic,  and  melodic  changes  and  em- 
bellishments. 

Variazioni  (It.,  v5h-re-Sh-tse-oh'ne).     Variations. 

Varie  fFr..  vah-re-a').  Varied. .  .Air  or  thime  varie, 
same  as  Tetna  con  variazioni. 


Varsoviana — Verse-anthem  157 

Varsoviana   (It.,   var-s6h-ve-ah'n3,h).    /   .   ,i„„„„  ;„ 
^     '  r  •^  dance  in 

Varsovienne  (Fr.,  var-s6h-v'yen').         ' 
moderate  tempo  and  3-4  time,  with  an  aicftakt  of 
a  quarter-note,  the   down-beat   of  everj'  second 
measure  being  strongly  marked. 

Vaudeville  (Fr.,  voh-d'-vel').  A  light  comedy, 
often  a  parody,  in  which  dialogue  and  pantomime 
alternate  with  witty  and  satirical  couplets  gen- 
erally set  to  well  known  popular  airs. 

Veemente  (It.,  veh-eh-men't6h).  \  ygj^g. 

Veemenza,   con    (kohn    v§h-gh-men'tsSh).  ' 
mently,  passionately. 

Veil.  A  voice  the  tone  of  which  is  not  quite  clear 
and  bell-like,  but  somewhat  obscured,  is  said  to 
have  a  "■  veil,"  or  to  be  "  veiled." 

Velato,  -a  (It.,  veh-lah't6h,  -tih).     Veiled. 

Vellutato  (It.,  vel-loo-tah'toh).    Velvety. 

Veloce  (It.,  veh-loh'cheh).  Rapid,  swift ;  oftea 
means  that  a  passage  is  to  be  performed  faster 
than  those  before  and  after,  then  being  the  oppo. 
site  of  litenuto. 

Velocemente   (It.,  veh-15h-cheh-men'tSh).  )  ij„„;(j. 

Velocita,  con  (kohn  veh-15h-che-tah').  ' 

ly,  swiftly.  [men'teh). 

Velocissimamente  (It.,  veh-16h-chis-se-mah-  l_ 

Velocissimo  (It.,  veh-loh-chis'se-moh). 
ia>t,  with  extreme  rapidity. 

V^en'til.     A  valve. 

Venusto  (It.,  veh-noo'stoh).    Graceful,  elegant. 

Vergnugt  (Ger.,  far-gniiyht')-  Cheerful(ly),  cheery 
(cheerily). 

Verhallend  (Ger.,  far-h5.hl'lent).     Dying  away. 

VerlSschend  (Ger.,  f^r-lo'shent).     Dying  away. 

Verschiebung,  mit  (Ger.,  mit  far-she'b66ng''). 
With  shifting  (soft)  pedal,  U.VA  CORDA  ;  ohne 
I  erschubung,  Tkk  COKDE,  [dying  away. 

Verschwindcnd  (Ger.,  ftfr-shvin'dent).     Vanishing, 

Verse,  i.  In  sacred  vocal  music,  a  portion  of  aik 
anthem  or  service  for  a  solo  voice  or  solo  voices. 
—2.  A  stanza. 

Verse-anthem.  One  in  which  the  verses  (soli,  du- 
tts,  trios,  quartets)  predominate  over  the  cho- 
ruses...  r^rjtf-.ytfrt//(:^,  a  choral  service  for  solo 
voices. 


^Verjr 


158  Verset— Viola 


Ver'set.     i.  A  short  verse,  usually  forming  but.  one 
sentence  with  its  response  ;  for  example  : 
Vers.  O  Lord,  save  Thy  people, 
Resp.  And  bless  Thine  inheritance. 
—2.  A  short  prelude  or  interlude  for  organ. 

Ver'sicle.     A  Verset  1.  [humor,  depressed. 

Verstimmt  (Ger.,  far-shtimt').    Out  of  tune  ;  out  of 

Verweilend  (Ger.,  far-vi'lent).  Delaying  ;  r/'/^ww/c. 

Vespers.  Even-song ;  the  6th  of  the  Canonical 
Hours. 

Vezzosamente   (It.,    vet-ts6h-sah-men't6h).  [  j^    ^ 

Vezzoso  (It.,  vet-tsoh'soh).  ' 

graceful,  elegant  style. 

Vibrante  (It.,  ve-brahn'teh).  With  a  vibrating, 
agitated  effect  of  tone. 

Vibrato  (It.,  ve-brah'toh).  1.  On  bow-instruments, 
the  wavering  effect  of  tone  obtained  by  rapidly 
shaking  the  finger  on  the  string  which  it  is  stop- 
ping.—2.  In  singing,  (a)  a  tremulous  effect  caused 
by  very  rapid  partial  interruptions  of  the  tone; 
{b)  strongly  I  accented,  and  diminishing  in 
intensity  :      <S5      (also  instrumental  effect). 

Vicendevole    (It.,   ve-chen-da'v6h-leh).    Changea- 

bly,  inconstantly. 
Vicino  (It.,  ve-che'noh).     Near  ;  fiii  vtcino,  nearer 

(as  of  sounds  coming  nearer  and  growing  louder). 

Vide  (Latin).       j.  See . . .  Vi  -  -  de,  written  in  scores, 

Vidi  (It.,  ve'de).  ' 
means  that  a  "cut  "  is  to   be  made,  and  directs 
the  performers  to  skip  from  Vi-  over  to  de. 

Viel  (Ger.,  fel).  Much,  great... Mi^  vielem  Nach- 
druck,  with  strong  emphasis. 

Vigore,  con  (It.,  ve-goh'reh).  ) 

Vigorosamente    (ve-g6h-r6h-s3,h-men'teh).   vWith 

Vigoroso  (It.,  ve-g6h-roh's6h.  ' 

vigor,  energy. 

Viol.  A  very  ancient  type  of  bow-instrument,  dif- 
fering from  the  violin  family  by  having  a. fretted 
fingerboard,  a  variable  number  of  strings  (usu- 
ally 6),  and  in,  the  shape  of  the  body.  It  was 
made  in  4  sizes,  like  the  violin,  by  which  it  was 
superseded  in  the  orchestra,  etc. 

Viola  (It.,  ve-6'lah).  i.  The  tenor  violin. — 2.  A 
\\o\,.. Viola  da  ga7nba^  "leg-viol,"  a  large  viol 


Viole— Vista 


»59 


In  a 


held,  like  the 'cello,   between  the   knees."  Vw/a 
d'amore,  a  kind  of  tenor  viol. 

Viole  (Fr.,  v'yohl').     A  viol ;  a  viola. 

Violentamente  (It.,  ve-6h-len-tah-men'tel>) 

Violento  (It.,  ve-6h-len'toh). 
violent,  impetuous  style. 

Violin'.  The  familir.r  4-stringed  how-instrument, 
the  leading  orchestral  instruni'^n*  ;  •constructed 
in  4  sizes  (.the  so-called  string-quartec  of  the  or- 
chestra), tuned  as  follows  : 

Violin.  Viola.  Violoncello. 


Double-bass. 


ryHtten.) 


g 


zt    iq:    -*- 


The  ordinary  compass  of  the  violin  is  from  ^ 
to  a'^\  soloists'go  several  notes  higher. 

Violina.  A  metal  flue-stop  in  the  organ,  of  stringy 
timbre^  usually  of  4-foot  pitch. 

Violinata  (It.,  ve-oh-le-nah't&h).  i.  A  piece  for 
violin.—  i.  A  piece  for  another  instrument,  imitat- 
ing che  riolin-style. 

Violi.n-clef.     The  g-clef  gn=  .—French  violm-clef, 

the  6^-clef  set  on  the  lowest  line  of  the  staff. 
V\olin-diapason.     A  diapason-stop  of  stringy  tone. 
Violino  (It.,  ve-5h-le'n5h).     Violin.  [diapason. 

Violon    (Fr.,    v'yoh-lohn').     i.    Violin.— 2.    Violin- 
Violoncello  (It.,  ve-5h-16hn-chel'16h).    A  4-stringed 

bow-instrument  of  violin-type  (.see  VIOLIN),  held, 

while   playing,   between  the  knees  ;    familiarly 

called  the  'cello. 
Violone    (It.,    ve-6h-loh'n§h).     i.    The    bas.s-viol.— 

2.  An  organ-stop  on   the  pedal,   of  16-foot  pitch 

and  violoncello-like  timbre. 
Virginal.     A  small  kind  of  harpsichord. 
Virtuoso,  -a  (It.,  ver-too-oh'soh,  -sdh).     A  finished 

instrumentalist  or  vocalist.  [(first)  sieht 

Viata  (It.,   vi'stah).      Sight... ^   {prima)  vista,  at 


i6o  Vistamente — Volatine 

Vistamente   (It.,   vi-stah-men'teh).  /_  Briskly,    ani- 
Visto,  -a  (It.,  vi'stoh,  -stah).  »'      matedly. 

Vivace  (It.,  ve-vah'cheh).  Lively,  animated,  brisk. 
As  a  tempo-mark  standing  by'itself.  Vivace  calls 
for  a  movement  equalling  or  exceeding  Allegro 
in  rapidity.  [  Vivace,  about  Allegretto. 

Vivacetto  (It.,  ve-vah-chet'toh).     Less  lively  than 
Vivacemente    (It.,  ve-vah-cheh-men'teh).  \ 
Vivacezza,  con  (kohn  ve-vah-chet'sah).     >•  Lively, 
Vivacita,  con  (kohn  ve-vah-che-tah').         ' 

spirited,  animated,  brisk  ;  vivace.  py^  presto. 

Vivacissimo  (It.,  ve-vah-chis'se-moh).    Very  live- 

Vivente  (It.,  ve-ven'teh).  ,  

...    .,     ,^.        -,   -   -.w,,       (  Lively,  spiritedly,  brisk- 
Vivido  (It.,  ve've-doh).     f     ly 

Vivo  (It.,  ve'voh).  ' 

Vo'cal.  Pertaining  to  the  voice;  suitable  for  the 
singing- voice...  Fb^a/  cords.  Wvq  2  opposed  liga- 
ments set  in  the  larynx,  whose  vibration,  caused 
by  expelling  air  from  the  lungs,  produces  vocal 
ton^?,...  Vocal  glottis,  t\iQ  aperture  between  the 
vocal  cords  while  singing. ..  Fbca/  score.,  see 
Score. 

Vocalise  (Fr.,  voh-cah-lez').  A  vocal  exercise  or 
etude,  sung  to  the  vowels  or  solmisation-syllables. 

Voce  (It.,  voh'cheh  ;  plural  Voci  [voh'che]).  Voice  ; 
part. .  .A  due  {t  re)  voci,  for  2  (3)  parts  or  voices  ;  in 
2  (3)  parts....l/^zza  voce.,  Sotto  voce,  see  Mezza, 
SOTTO. 

Voice.  I.  The  singing-voice,  divided  into  six  prin- 
cipal classes  :  Soprano,  Mezzo-soprano,  Contralto 
(Alto),  Tenor,  Baritone,  and  Bass.— 2.  The  word 
voice  is  often  used  instead  of  "  part,"  in  imitation 
of  foreign  usage  ;  the  practice  cannot  be  recom- 
mended. 

Voice-part.  i.  A  vocal  part.— 2.  A  Part  [improper 
usage]. 

Voicing.     Tuning  (said  of  organ-pipes). 

Voix  (Fr.,  v'wah).  Voice;  part...^  deux  {trois) 
voix,  for  2  (3)  voices  ;  in  2  (3)  parts. 

Volante  (It.,  voh-lahn'teh).     Flying;  light,  swift. 

Volata  (It.,  voh-lah'tah).        j 

Volate  (Ger.,  voh-lah'te).      VA  short  vocal  run  or 

Volatine  (Fr.,  voh-lah-ten')-  ^ 
trill  ;  a  run  or  division ;  a  light,  rapid  series  of 
notes. 


Volatina— Waits  i6i 


Volatina  (,It.,  voh-iaii-te'iulh).     A  short  Volata. 
Volkslied  (Ger.,  f6hlks'let).     FolksonK^. 
Volkst(h)umlich   (Ger.,    fohlks'tiini'lTyh).      Like    a 

German  fo'ksong,  or  popular  music. 
Volkston,   im  (Ger.,  im  fohlks'tohn).     In  the  stj'le 

of  a  folksong,  or  popular  music. 
Vol!  (Ger.,  f6hl).     YwW. .  .Voiles  Orc/ieste?-.  full  ov- 

chestva.. .  Fol/es   Werk,  full    organ... J///  volletu 

Chore,  with  full  chorus. 
Volta  (It.,  vohl'tah).     A  turn  or  time.  ..Prima  7>o/la 

(or  J/;ia  volta,  Jma,  la,  I.,  /.),  first  time  ;  Sectcuda 

vol  til  (or  llda  volta,  etc.),  second  time;  una  volta, 

once  ;  due  volte,  twice. 
Volteggiando    (It.,    vohl-ted-jShn'^loh).      Crossing 

hands  on  a  keyboard.  [instantly. 

Volti    subito  (It.,    vohl'te  soo'be-toh).     Turn   over 
Volubilmente  (It.,  voh-loo-bel-men'teh).      Fluent- 
ly, flowingly. 
Vol'untary.    An  organ-solo  before,  during,  or  after 

divine  service  ;  or,  a  choral  piece  opening  service. 
Voluttuoso  (It.,  v5hl-166t-too-oh's6h).  Voluptuous. 
Vom  (Ger.,  f6hm).     From  \\\e...Vo7n  Anfaiig,  Da 

CAPO. 

Vorher  (Ger.,  fohr-har').     Before,  previous(ly). 

Vorig  (Ger.,  fohr'iyh).  Preceding,  previous ;  as 
I'origes  Zeitmass,  tempo  precedente. 

Vorspiel  (Ger.,  fohr'shpel).  Prelude,  introduction; 
overture. 

Vortrag  (Ger.,  fohr'trah).  Rendering,  interpreta- 
tion, performance,  style,  delivery,  execution. 

Vorwarts  (Ger.,  fohr'varts).  Forwards  ;  etivas  vor- 
'.vlirts  geliend,  somewhat  isisteT,  poco  piii  7iiosso. 

Vox  (Latin).  Voice. . .  Vox  ang-elica  (angelic  voice), 
a  4-foot  stop  corresponding  to  the  8-foot  Vox  hu- 
mana...F<'.r  liiimana  (human  voice),  an  8-foot 
reed-stop  in  the  organ,  the  tone  of  which  has  a 
(fancied)  resemblance  to  the  human  voice. 


w 

Waits  (also  Waytes,  IVayt^htes,  etc.).  Originally, 
English  street  watchmen,  who  gave  notice  of 
their  coming  by  sounding  horns,  etc.;  later, 
town-musicians ;  and.  still  later,  various  irregu- 
lar bands  of  indifferent  music-makers. 


Waldflote— Wind-instruments 


Waldflote  (Ger.,  vahlt'flo'te).     An  open  metal  flue- 
stop  in  the  organ,  of  2-  or  4-foot  pitch  and  suave, 


full  tone. 


[without  valve 


Waldhorn  (Ger.    vahlt'horn).      The  French  horn 

Waltz.  A  round  dance  in  3-4  time,  varying  in 
tempo  from  slow  to  moderately  ia.sx....  Waltz- 
song,  a  song  in  waltz-rhythm. 

Walzer  (.Ger.,  vahl'tser).    Waltz. 

Warble.     See  JODLER. 

Warme,  mit  (Ger.,  mit  var'me).  With  warmth, 
warmly  ;  mit  grosser  Wdrtne,  with  great  warmth. 

Wehmut(h),  mit  (Ger.,  mit  va'moot).  I  j^  ^  g,    j^  ^^^ 

Wehmut(h)ig  (Ger.,  va'raii'tiyh).        ) 
pressive  of  sadness  or  melancholy. 

Welch  (Ger.,  viyh).    Soft,  tender;  mellow,  suave. 

Well-tempered.  In  equal,  and  therefore  satis- 
factory, temperament. 

Wenig  (Ger.,  va'niyh).  Little  ;  ein  klein  wenig 
lajigsatner,  a  very  little  slower. 

Whipping  bow.  A  form  of  violin-technicin  which 
the  bow  is  made  to  fall  with  a  certain  vehemence 
on  the  strings.  Chiefly  employed  when  one 
wishes  to  mark  sharply  single  tones  in  rapid 
tempo,  as : 


<s-    <s* 


One  with  an  open  head:  ( 
The  note(C7 

See  Shift. 

I.  The   step  of  a  whole  tone 


White  note. 

Whole  note. 

Whole  shift. 

Whole  step. 
whole  tone. 

Whole  tone.     A  major  Second. 

Wie  (Ger.,  ve).  As. —  Wi'e  oben,  as  above*  wt'e 
vorher,  as  before,  as  at  first;  wie  aus  der  Feme, 
as  from  a  distance. 

Wiegend.  (Ger.,  ve'ghent).     Swaying,  rocking. 

Wind'-band.  i.  A  companv  of  performers  on  wind- 
instruments. —  2.  The  wind-instruments  in  the 
orchestra  ;  also,  the  players  on,  or  parts  written 
for,  the  same. 

Wind'-instruments.  Instruments  whose  tones  are 
produced  by  wind  (that  is,  compressed  air). 


Wolf-Zierlich  163 


Wolf.  I.  The  discord  produced  when  playing,  in 
certain  keys,  on  an  organ  tuned  in  unequal 
temperament.  —  2.  In  bow-instruments,  an  im- 
perfect or  jarring  vibration  caused  by  sounding 
some  particular  tone  or  tones. 

Wood'-wind.  The  group  of  wooden  wind-instru- 
ments in  an  orchestra  ;  or  the  players  on  them. 

Working-out.    See  Development. 

Wuchtig  (Ger.,  v6<5h'tiyh).  Weighty,  weightily, 
ponderousdy),  with  strong  emphasis. 

Wurde,    mit    (,Ger.,   mit    viir'de).  /  With    dignity; 

WQrdevoU  (Ger.,  viirMg-fdhl').       >      loftily. 

W^ut(h)end  (Ger.,  vii'tent).  Furious(ly),  frantic- 
(ally). 


Xylophone.  A  verj' ancient  instrument,  consisting 
of  a  row  of  flat  wooden  bars  fastened  horizontally 
to  two  stretched  cords,  tuned  to  the  tones  of  the 
scale,  and  struck  (played  on)  with  two  mallets ; 
a  wooden  dulcimer. 


Y 

Yodel,  Yodler.     See  JODLER. 


Zart  (Ger.,  tsShrt).    Tender,  soft,   delicate,  dolce : 

slender... J///  zarten  Stimmeti,  with  soft-toned 

^^'*P^-  [flute-stop  of  very  delicate  tone. 

ZartflOte  (Ger.,  tsShrt'flo'te).     In  the  organ,  a  4-foot 

Zartlich    (Ger.,    tsahrt'liyh).     Tender(ly),    caress- 

ing(ly). 
Zeffiroso  (It.,  dzef-fe-roh's6h).     Zephyr-like. 
Zelo,  con  (It.,  k6hn  dza'16h).  1 

Zelosamente  (It.,  dz5h-16h-sah-men'teh).  [-Zealous- 
Zeloso  (It.,  dzgh-loh's6h).  ' 

ly,  enthusiastically,  with  energy  and  fire. 
Ziemlich  (Ger.,  tsem'liyh).     Somewhat,  rather... 
Ziemlich  be7ves^t  und  frei  in   I'ortrag,  quite  ani- 
mated and  free  in  delivery  (style). 
Zierlich    (Ger.,   tser'llyh).     Neat(ly),    delicate(ly); 
graceful(ly). 


164  Zimbalon— Zwischenspiel 

Zimbalon.  An  improved  dulcimer  much  employed 
in  Hungarian  music,  provided  with  dampers,  and 
having  a  chromatic  scale  of  4  octaves  :  £  to  -e^. 

Zingara,  alia  (It.,  ahl'lah  tsin'gah-rah).  I  In  Gypsy 

Zingarese,  alia  (ahl'lah  tsin-gah-ra'zeh>.  '      sty.e. 

Zither  (Ger.,  tsit'ter).  The  inodern  zither  has  3a 
or  more  strings  stretched  over  a  shallow  wooden 
resonance-box,  which  has  a  fretted  fingerboard 
on  the  side  next  the  player ;  above  the  finger- 
board are  5  melody-strings,  plucked  with  q 
metal  "ring"  worn  on  the  right  thumb. 

Zitternd  (Ger.,  tsit'ternt).    Trembling,  tremulous. 

Zogernd  (Ger.,  tso'gernt).    Hesitating,  retarding. 

Zu  (Ger.,  tsoo).    Too  ;  to.  [crescefii/o. 

Zunehmend    (Ger.,    tsoo'na' ment).      Increasing* 

Zuriickgehend  (Ger.,  tsoo-r«k'ga'ent).  Recurning 
(to  a  preceding  slower  tempo). 

Zuriickhaltend  (Ger.,  tsoo-rMk'hahl'tent,.  Holding 
back,  ritardando. 

Zwei  (Ger.,  tsvi).    Two. 

Zweihandig  (Ger.,  tsvi'hen'diyh).    P,'r  2  hands 

Zweistimmig  (Ger.,  tsvi'shtim'miyh).  For  2  voices ; 
in  or  for  2  parts. 

Zwischensatz  (Ger.,  tsvish'en-zahl^;')•     Episode 

Zwischenspiel  (Ger.,  t?vish'en-slii/elO.  Interlude 
intermezzo. 


I 


Brief  Biographies  of  Prominent  Musicians 

Abt  (Shpt),  Franz,  song-writer  ;  b.  Eilenburg,  1819; 

^-  ^^^5-  [poser  ;  b.  Paris,  1802  ;  d.  1856. 

Adam    (dh-dShnO,     Adolphe-Charles,     opera-com- 
Alard   (Sh-lar'),  Jean-Delphin,    violinist  ;    b.    Bay- 

onne,  1815  ;  d.  1888.  [Glasgow,  1864. 

d'Albert  (daiil-bar'),  Eugen,  pianist,  composer;  b. 
Arditi  (ar-de'te),  Luigi,  composer  ;  b.  Crescentino, 

18-2  ;  d.  1903.  [^b  Novgorod,  1861. 

Arensky  (Sh-ren'ske),  Anton,   pianist,    composer; 
Arne,    Thos.    Augustine,   composer;    b.    London, 

1710;  d.  177S.  [linist,  b.  Brussels,  1815  ;  d.1845. 

Artot  (ar-toh),  Alexandre-Joseph  Montagney,  vio- 
Auber    (6h-bar'),    Daniel-Fran^ois-Esprit,    opera- 
composer;  b.  Caen,  1782;  d.  1871. 
Audran  (oh-dr3.hn),    Edmond,  operetta-composer,* 

b.  Lyons,  1842  ;  d.  igoi. 
Bach  (b5h\  Johann  Sebastian,  organist,  composer; 

b.  Eisenach,  rJSs  ;  d.  1750. 
Bach,  Karl  Philipp  Emanuel,  organist,  composer  ; 

b.  Weimar,  1714  ;  d.  1788. 
Baillot    (bSh-yohO,     Pierre,     violinist;     b.    Passy, 

France.  1771';  d-  1842.  [Dublin,  1808  ;  d.  1870. 

Balfe    (balf),    Michael   Wm.,    opera-composer;    b. 
Bargiel     (bar'ghe-el),    Woldemar,     composer;    b. 

Berlin,  ,828  ;  d.  1897.  [Engl.,  1838  ;  d.  1896. 

Barnby,  .Sir  Joseph,  composer,  organist  ;  b.  York, 
Beach,   Mrs.  H.  H.  A.,   composer;    b.   Henniker, 

X.  H.,  1867.  [Ij   Bonn,  1770;  d.  1827. 

Beethoven   (bat'hoh'fn),   Ludwig  van,   composer; 
Bellini  (bel-lG'ne),  Vincenzo,   opera-composer;  b. 

Catania,  Sicily,  i8oi  ;  d.  1835. 
Ben'del,   Franz,  pianist;    b.  Schonlinde,  Bohemia, 

1833;  d.  1874.  I'd.  ,885. 

Ben'edict,  Sir  Julius,  composer;  b.  Stuttgart,  1804; 
Ben'nett,  Sir  Wm.  Sterndale,  composer;  b.  Shef- 
field, iSi6;d.  1675.  [1802  ;d.  1870. 
Beriot  (ba-re-oh'),  Charles  de,  violinist:  b.  Louvam, 
Berlioz  (bar-le-6hz).  Hector,  composer;  b.  Cote- 

Saint-.Andre,  1803  ;  d.  1869.  rj    1876. 

Bertini(.bar-te'ne),  Henri,  pianist;  b.  London,  1798; 


i66    Brief  Biographies  of  Prominent  Musicians 

Best,  "Wm.  Thomas,  organist;  b.  Carlisle,  1826;  d. 

^897.  [1786;  d.  1855. 

Bishop,  Sir  Henry  Rowley,  composer;  b.  London, 
Bizet  (be-za'),  Georges,   opera-composer ;  b.  Paris, 

1838;  d.  1875. 

Boieldieu  (bwah-el-d'yo')i  Frangois-Adrien,  opera- 
composer  ;  b.  Rouen,  1775;  d.  1834. 

Boito  (boh-e'toh),  Arrigo,  opera-composer  ;  b. 
Padua,  1842. 

Bononcini  (boh-nohn-che'ne),  Giovanni,  opera- 
composer  ;  b.  Modena,  1660  ;  d.  i75o(?). 

Borodin  (boh-roh-den')  Alexander,  composer ;  b. 
St.  Petersburg,  1834;  d.  1887. 

Brahms  (brahmss),  Johannes,  composer;  b.  Ham- 
burg, 1833  ;  d.  1897.  ["ter,  1844. 

Bridge,  Sir  John  F.,  composer;  b.  Oldbury,  Worces- 

Brockway,  Howard  A.,  composer;  b.  Brooklyn, 
N.  Y.,  1870. 

Bruch  (brooh),  Max,  composer;  b.  Cologne,  1838. 

Bruckner  (brook'ner),  Anton,  composer;  b.  Ans- 
felden,  1824  ;  d.  1896.  [ravia,  1846. 

BruU  Cbrul),  Ignaz,  composer;  b.  Prossnitz,  Mo- 
Buck,  Dudley,  composer;  b.  Hartford,  Conn.,  1839. 

Bull,  John,  organist,  composer;  b.  Somersetshire, 
Engl.,  1563  ;  d.  1628. 

Bull,  Die,  violinist;  b.  Bergen,  Norw.,  1810;  d.  1880. 

Billow  (bu'loh),  Hans  Guido  von,  pianist  ;  b. 
Dresden,  1830;  d.  1894. 

Bungert  (boong'ert),  August,  opera-composer;  b. 
Miilheim-on-Ruhr,  1846. 

Busoni  (boo-soh'ne),  Ferruccio  Benvenuto,  pianist, 
composer  ;  b.  Empoli,  1866. 

Byrd,  Wm.,  composer  ;  b.  London,  i538(?)  ;  d.  1623. 

Cal'dicott,  Alfred  James,  composer  ;  b,  Worcester, 
Engl.,  1842  ;  d.  1897. 

Carissimi  (kah-ris'se-me),  Giacomo,  composer;  b. 
Marino,  i6o4(?) ;  d.  1674. 

Chadwick,  George  Whitfield,  composer;  b.  Low- 
ell, Mass.,  1854. 

Chaminade  (shah-me-nahd'),  Cecile,  composer;  b. 

Paris,  1861. 
Cherubini,    Luigi    (ka-roo-be'ne),     composer;     b. 

Florence,  1760;  d.  1842. 


Brief  Biographies  of  Prominent  Musicians    167 

Chopin  (sh6h-pan\  Fr6d6ric,  composer  ;  b.  Zela- 
zowa  Wola,  Poland,  1810;  d.  184Q. 

Cimarosa  (che-raSh-roh's&h),  Domenico,  compos- 
er ;  b.  Aversa,  1749  ;  d.  1801.  ^^^.^  .  ^j    ^g^^. 

Clementi    (cla-men'te),    Muzio,  pianist ;  b.   Rome, 

Concone  (k6hn-koh'neh),  Giuseppe,  vocal  teacher; 
b.  Turin,  ,8xo(?) ;  d.  186,.  [,653  .  d.  ,7,3. 

Corelli  (k6h-rel'le),  Arcangelo,  violinist  ;  b.  Imola, 

Costa,  Sir  Michael,  opera-composer ;  b.  Naples, 
i8io(?);  d.  1884.  [is,  1668;  d.  1733. 

Couperin  (koo-p'-rSn),  Frangois,  composer;  b.  Par- 

Cov^en,  Frederic  Hymen,  composer;  b.  Kings- 
ton, Jamaica,  1852.  [Mannheim,  1771  ;  d.  1858. 

Cramer    (krah'mer),  Johann   Baptist,   pianist;    b. 

Cui  (kwe),  Cesar,  composer  ;  b.  Vilna,  Russia,   1835. 

Czerny  (tchar'ne),  Karl,  pianist ;  b.  Vienna,  1791  ; 
^-  ^^57-  [sen,  1832  ;  d.  1885. 

Dam'rosch,  Leopold,  conductor,  composer;  b.   Po- 

Damrosch,    Frank,   conductor  ;  b.  Breslau,  1859. 

Damrosch,  Walter,  conductor,  composer ;  b.  Bres- 
lau, 1862.  [poser  ;  b.  Bagneres,  1818. 

Dancla  (dfthn-clSh),  Jean-Bapt.-Ch.,  violinist,  com- 

Dargomyzsky  (dar-go]i-m?Vsh'ke),  Alex.,  pianist, 
composer;  b.  Toula,  Russia,  1813  ;  d.  1869. 

David    (dah'vid),    Ferdinand,    violinist;    b.    Ham- 
burg, 1810;  d.  1873.  [Cadenet,  1810;  d.  1876. 
David    (dah-vidO,    Fdlicien-C6sar,    composer ;    b. 

De  Koven,  Reginald,  operetta-composer  ;  b.  Mid- 
dletown.  Conn.,  1859. 

Delibes  (di5-leb'),  L60,  opera-composer;  b.  St.  Ger- 
main-du-Val,  1836;  d.  1891. 

Diabelli  (de -Sh  -  bel'le),  Antonio,  composer;  b. 
Mattsee,  1781  ;  d.  1858.  r^    ^g  g 

Dohler  (do'ler),  Theodor,  pianist;  b.  Naples,  1814; 

Donizetti  (doh-ne-tset'te),  Gaetano,  opera-com- 
poser ;  b.  Bergamo,  1797  ;  d.  1848.  fiSst;. 

Draeseke  (dra'ze-k6),  Felix,  composer  ;  b.  Koburg, 

Dreyschock  (dri'.sh6hk),  Alexander,  pianist  ;  b. 
Zack,  Boh.,  1818  ;  d.  i86q.  [^ay,  France,  1834. 

Dubois  (dii-bwSh'),  Theodore,   composer  ;  b.  Ros- 

Dussek  (doo'shek),  Johann  Ladislaus,  pianist  ;  h 
Tschaslau,  Boh.,  1761  ;  d,  1812. 


i68    Brief  Biographies  of  Prominent  Musicians 

Dvoi'ak  (dvor'shahk),  Antonin,  composer  ;  b.  Mtihl- 

hausen,  Boh.,  1841  ;  d.  1904.  [,813 ;  d.  1893. 

Dwight,  John  Sullivan,  writer  ;  b.  Boston,   Mass., 
Ehlert  (a'lert),  Louis,  writer,  composer  ;  b.  Konigs- 

berg,  1825  ;  d.  1884. 
Ehrlich  (ar'liyh),  Alfred  Heinrich,  pianist,  writer; 

b.  Vienna,  1822  ;  d.  1899. 
Ernst    (arnst),    Heinrich    Wilhelm,    violinist;    b. 

Briinn,  18.4  ;  d.  1865.  ^jielg.,  1784  ;  d.1871. 

Fetis    (fa-tess),    Frangcis-Jos.,    writer;    b.    Mons, 
Field,  John,  pianist,  composer;  b.  Dublin,  1782  ;  d. 

^^37.  [i860. 

Fielitz  (fe'lits),   Alex,   von,  composer;  b.  Leipzig, 
Fiorillo    (f  yoh  -  ril '  loh),    Federigo,    violinist;    b. 

Brunswick,  1743  i  <^-  1812. 
Flotow  (floh'toh),  Friedrich  von,  opera-composer; 

b.  Teutendorf,  1812  ;  d.  18S3.  j-jg^^^ 

Foerster,  Adolph  Martin,  composer;  b.  Pittsburg, 
Foote,  Arthur  Wm.,  composer;  b.  Salem,  Mass., 

^S53-  [1826  ;d.  1864. 

Foster,  Stephen  Collins,  composer ;   b.   Pittsburg, 
Franck    (frahnk),     Cesar-Auguste,    composer;    b. 

Liege,  1822;  d.  1890.  [-^8^5.  ^    ,892. 

Franz  (frahnts),  Robert,   song-composer;  b.  Halle, 
Frescobaldi  (freh-skoh-bahl'de),  Girolamo,  organ' 

ist  ;  b.  Ferrara,  1583;  d.  1644. 
Gade    (gah'deh),    Niels    Wilhelm,    composer ;    b. 

Copenhagen,  1817  ;  d.  1890.  [drid,  1805. 

Garcia  (gar'shah),  Manuel,  vocal  teacher;  b.  Ma- 
Garrett,  George  Mursell,  organist;  b.  Wmchester, 

Engl.,  1834;  d.  1897.  [b.  Huysse,  Bel.g.,  1828. 

Gevaert  (gu'-vahrt),  Frangois-Auguste,  composer  ; 
Gibbons,  Orlando,  composer  ;  b.  Cambridge,  Engl., 

1583  ;  cl.  1625.  [b.  Nancy,  1844. 

Gig'out   (zhe-goo'),    Eugene,    organist,    composer; 
Glazounow  (glah-tsoo'nohv),  Alex.,   composer;  b. 

St.  Petersburg,  1865. 
Glinka    (glin'kah),    Michael,    opera-composer;    b. 

near  .Sinolensk,  1804  :  d.  1857. 
Gluck    (glook),    Christoph    Wilibald    von,   opera- 
composer;  b.  Weidenwang,  1714;  d.  1787. 
Godard  (goh-dar')-  Benjamin,  opera-composer;  b, 

Paris,  1849  ;  d.  1895. 


Brief  Biographies  of  Prominent  Musicians    i6g 

Goetschius  (got'she-66ss),  Percy,  theorist  ;  b.  Pat- 
erson,  N.  J..  1S53. 

Goetz  (gots),  Hermann,  composer ;  b.  Kiinigsberg, 
1S40  ;  d.  1876.  [thely,  Hungary,  1830. 

Goldmark  (gohlt'mark),   Karl,  composer;  b.  Kesz- 

Gomes    (goh'iness),    Antonio    Carlos,    opera-com- 
poser ;  b.  Campinas,  Hrazil,  1839;  d.  1896. 

Gottschalk,    Louis   Moreau,   pianist ;  b.  New  Or- 
leans, 1829  ;  d.  1S69.  [Paris,  1818  ;  d.  1893. 

Gounod    (goo-noh),    Charles,    opera-composer;    b. 

Gouvy    (goo-vei,    Louis-Theodore,    composer;   b. 
Goffontaine,  1819;  d.  iSyS. 

Graun     (grown),     Karl     Heinrich,     composer;    b. 
Wahrenbruck,  1701  ;  d.  1759.  [j^^j  .  j.  1813. 

Gr6try  (gra-tre),  Andre,  opera-composer;  b.  Liege, 

Grieg    (greg),     Edvard     Hagerup,     composer;    b. 
Hergen,  1843-  [1820;  d.  igoo. 

Grove,  Sir  George,   writer;  b.  Clapham,  Surrey, 

Guilmant  (gel-mihii),  Alex,,  organist,  composer; 
b.  Boulogne,  1837.  [Paris,  1799;  d,  1862. 

Halevy  (hSh-la-ve),  Jacques,  opera-composer;  b. 

Halle,  Sir  Charles,  pianist,  conductor;  b.  Hagen, 
Westph.,  iSiQ  ;  d.  1895.  [Halle,  1685  ;  d.  1759. 

Handel  (hen'del),  Georg  Friedrich,   composer;   b. 

Hanslick  thShnss'lick),  Eduard,  writer  ;  b.  Prague, 
liis  ;  d.  1904. 

d'Hardelot   (dar-d'-16h),   Guy,    song-composer;  b. 
near  Boulogne  (coulemporary ). 

Hauptmann  (howpt'mahn),  Moritz,  theorist,  com- 
poser ;  b.  Dresden,  1792;  d.  1868.         [1732;  d.  1809. 

Haydn  Uii'dn),  Josef,  composer; b.  Rohrau,  Austria, 

Heller,  Stephen,  pianist,  composer;  b.  Pesth,  1815; 
d-  1S88.  [Breslau,  1850. 

Henschel  (hen'shel),  Georg,  composer,  singer;  b. 

Henselt  (lien'selt),  Adolf  von,   pianist,   composer; 

b.  vScnwabach,  Bav.,  1814;  d.  liSg. 
Herbert,  Victor,  composer;  b.  Dublin,  1859. 

H6rold    (ha-ruhld),     Louis,     opera-composer;    b. 
Pans.  1 791  ;  d.  1833.  [,888. 

Herz  I  harts),   Henri,  pianist;   b.   Vienna,   iSob  ;  d. 
Hiller,   Ferdinand  von,  composer;   b.   Frankfort, 
i3ii  ;  d.  1885.  [,831. 

Hoffman,  Richard,  pianist;  b.  Manchester,  Engl., 


l^o    Brief  Biographies  of  Prominent  Musicians 

Hofmann,  Heinrich,  opera-composer;  b.  Berlin, 
1842;  d.  1902.  [J847;  d.  1Q03. 

Holmes,  Augusta  Mary  Anne,  composer;  b.  Paris, 

Hullah,  John  Fyke,  writer,  vocal  teacher;  b. 
Worcester,  Engl.,  1812  ;  d.  1884. 

Hummel  (hoom'mel),  Johann  Nepomuk,  pianist; 
b.  Pressburg,  1778  ;  d.  1837. 

Humperdinck  (hoom'per-dink),  Engeibert,  com- 
poser; b.  Siegburg,  near  Bonn,  1854. 

Hunten  (hzVn'ten),  Franz,  composer;  b.  Koblenz, 
1793  ;  d.  1878.  [_t,,  Newark,  N.  J.,  1862. 

Huss  (hooss),  Henry  Holden,  pianist,  composer  ; 

d'Indy  (dan-de),  Paul  Vincent,  pianist,  composer  ; 
b.  Paris,  1851.  [b.  Breslau,  1831  ;  d.  1902. 

Jadassohn  (yah'dahs-zohn),   Salomon,    composer ; 

Jaell  (yah'el),  Alfred,  pianist;  b.  Trieste,  1832;  d. 
1S82.  [berg,  1837;  d.  1879. 

Jensen  (yen'sen),  Adolf,  song-composer  ;  b.  Konigs- 

Joachim  ( voh'ah-kim),  Joseph,  violinist ;  b.  Kittsee, 
near  Pressburg,  1831. 

Jomelli  (3'6h-meFle),  Nicola,  opera-composer;  b. 
Aversa,  1714;  d.  1774. 

Joncieres  (zhohn-s'ySr),  F61ix  de,  opera-composer  ; 
b.  Paris,  1839  ;  d.  1903.  [Conn.,  1850. 

Jordan,   Jules,   tenor,   composer;    b.    Willimantic, 

Josef'fy  (yoh-zef'fe),  Rafael,  pianist ;  b.  Hunfalu, 
Hungary,  1853. 

Kalkbrenner  (k&hlk'bren-ner),  Friedrich,  pianist, 
composer;  b.  Germany,  1788;  d.  1849. 

Kalliwoda  (kah-le-voh'dah),  Johann  W.,  violinist; 
b.  Prague,  1801 ;  d.  1866. 

Keler-Bela  (ka'ler  ba'lah),  Albert,  dance-com- 
poser; b.  Bartfeld,  Hungarj',  1820;  d.  1882. 

Kelley,  Edgar  Stillman,  writer,  composer;  b. 
Sparta,  Wis.,  1857.  [^82^ .  ^   jgg.. 

Kiel    (kel),   Friedrich,    composer;    b.    Puderbach, 

Kienzl    (ken'tsl),    Wilhelm,    opera-composer;    b. 

Waizenkirchen,  Austria,  1857. 
Kirchner    (keryh'ner),    Theodor,     composer ;     b. 

Chemnitz,  1824  ;  d.  1003.  |-j8j8  .  ^   jggg^ 

Kjerulf  (che'roolf),  Halfdan,  composer  ;  b.  Norway, 
Klein  (klin),  Bruno  Oscar,  organist,  composer;  b. 

Osnabruck,  1858. 


Brief  Biographies  of  Prominent  Musicians    171 

Klindworth  (klint'vohrt),  Karl,  pianist;  b.  Han- 
over, 1830. 

Klughardt  (kloog'hart),  August;  b.  Kothen,  1847; 
^-  1902.  [wick,  1820;  d.  1886. 

Xehler  (ko'ler),  Louis,  pianist,  composer :  b.  Bruns- 

Kontski  (k5hnl'ske),  ApoUinaire  de,  violinist;  b. 
Warsaw,  1825  i  ^-  1879. 

Koschat  (k5h'sh5.ht),  Thomas,  composer  ;  b.  Vikt- 
ring,  near  Klagenfurt,  1825. 

Kreutzer  (krShu'tseri,  Conradin,  opera-composer; 
b.  Mosskirch,  1780;  d.  1849.  [d.  1831. 

Kreutzer,  Rodolphe,  violinist;  b.  Versailles,  1766; 

Kucken  (kwk'en),  Friedrich  Wilhelm,  song-com- 
poser; b.  Bleckede,  Han.,  1810;  d.  1882. 

Kuhlau  (koo'low),  Friedrich,  composer;  b.  Uelzen, 
17S6;  d.  1832. 

Kullak  Ck.66\nS.hk),  Theodor,  pianist ;  b.  Krotoschin, 
Posen,  1818  ;  d.  1882.  [-.g^^  .  d.  1890. 

Lachner  (ISh'ner),  Franz,  composer  ;  b.  Rain,  Bav., 

Lachner,  Ignaz,  composer;  b.  Rain,  1807  ;  d.  1895. 

Lachner,  Vincenz,  composer  ;  b.  Rain,  1811 ;  d.  1893. 

Lalo  (lah-loh),  Edouard,  composer;  b.  Lille,  1823; 
d.  1892.  [J837. 

Lang,    Benj,   Johnson,    pianist;   b.   Salem,   Mass., 

Lanner  (lahn'ner),  Joseph,  dance-composer;  b. 
Oberdobling,  1801  ;  d.  1843. 

Lassen  (ia,hs'senj,  Eduard,  composer;  b.  Copen- 
hagen, 1830;  d.  1904.  [-j^jo;  d.  1594. 

Lasso  (IShs'soh),  Orlando  di,  composer;  b.  Mons, 

Lecocq  (lu-k5hk'),  Charles,  operetta-composer  ;  b. 
Paris,  1832. 

Leoncavallo  (la  -  6hn-k5h  -  v3.hl'16h),  Ruggiero, 
opera-composer;  b.  Naples,  1858. 

Leschetizky  (le-she-tit'ske),  Theodor,  pianist;  b. 
Lancut,  Poland,  1830.  [Petersburg,  1855. 

Liadow    (I'yah'dohf),    Anatole,    composer ;    b     St. 

Liebling  (lep'ling"),  Emil,  pianist ;  b.  Pless,  Silesia, 
1851. 

Lind,  Jenny,  soprano;  b.  Stockholm,  1820;  d.  1887. 

Liszt  (list),  Franz,  pianist,  composer ;  b.  Raiding, 
Hungary,  1811  ;  d.  1886. 

Lortzing  (lohr'tsing''),  Albert,  opera-composer;  b. 
Berlin,  1801  ;  d.  1851. 


172    Brief  Biographies  of  Prominent  Musicians 

Loschhorn  (losh'horn),  Albert,  pianist;  b.  Berlin, 
1819. 

Lowe  (lo've),  Carl,  composer;  b.  Lobejiin,  near 
Halle,  1796;  d.  1869. 

Lully  (liil-le),  Jean-Baptiste,  opera-comooser ;  b. 
Fh^rence,  1633  ;  d.  1687. 

MacCunn,  Hamish,  composer;  b.  Greenock,  1868. 

MacDowell,  Edward  Alex.,  composer;  b.  New 
York,  1861.  ["don,  1813  ;  d.  1887. 

Macfarren,   Sir  George  Alex,,   composer;  b.   Lon- 

Mackenzie,  Sir  Alex.  Campbell,  composer;  b. 
Edinburgh,  1847.  [b.  Palermo,  1822. 

Marchesi  (tnar-ka'ze),  Salvatore,  baritone,  teacher; 

Marmontel  (mar- mohn  -  tel'),  Antoine-Frangois, 
pianist;  b.  Clermont-Ferrand,  1816  ;  d.  1898. 

Marschner  (marsh'ner),  Heinrich,  opera  -  com- 
poser ;  b.  Zittau,  1795  ;  d.  1861.  [Capua,  1856. 

Martucci  (mar-toot'che),   Giuseppe,  composer;  b. 

Marzo  (mar'tsoh),  Eduardo,  composer;  b.  Naples 
(contemporary).  [Leghorn,  1863. 

Mascagni    (mah'skahn'ye),    Pietro,    composer ;    b. 

Mason,  Dr.  Wm.,  pianist,  composer;  b.  Boston, 
Mass.,  1829.  [Monteaux,  1842. 

Massenet    (mah-s'-naO,   Jules,  opera-composer ;  b. 

Mehul  (ma-«l),  Etienne-Nicolas,  opera-composer; 
b.  Givet,  1763  ;  d.  1817.  [Australia,  1865. 

Melba  (mel'bah),   Nellie,   soprano ;  b.   Melbourne, 

Mendelssohn,  Felix,  composer  ;  b.  Hamburg,  1809; 
d.  1347. 

Mercadante  (mar-cah-dahn'teh),  Saverio,  opera- 
composer;  b.  Altamura,  1795;  d.  1870. 

Meyerbeer  (nii'er-bar\  Giacomo,  opera-composer; 
b.  Berlin,  i/gi  ;  d.  1864. 

Me3'er-Helmund  (hel'moont),  Erik,  composer;  b. 
St.  Petersburg,  1861. 

Meyer-Olbersleben  (ohl'bers-la'ben).  Max,  com- 
poser; b.  Olbersleben,  1830. 

Millocker  (mil'lok-ker).  Karl,  operetta-composer; 
b.  Vienna,  1842  ;  d.  1899. 

Molique  (moh-lekO,  "Wilhelm  Bernhard,  violinist; 
b.  Nuremberg,  1803  ;  d.  1869. 

Monteverde  (mohn-teh-var'deh),  Claudio,  com- 
poser ;  b.  Cremona,  1567  ;  d.  1643. 


Brief  Biographies  of  Prominent  Musicians    173 
Morley,  Thomas,  contrapuntist;  b.  England,  i557(?); 

d.   l6c.4- 

Moscheles  (ini'h  '  sh6  -  less),  Ignaz,  pianist,  com- 
poser; b.  Prague,  1794;  d.  1870. 

Moszkowski  (mohsh-k5hv'ske),  Moritz,  pianist, 
composer  ;  b.  Breslau,  1854. 

Mozart  (moh'tsart),  Wolfgang  Amadeus,  com- 
poser; b.  Salzburg,  1756;  d.  1791. 

Ness'ler,  Victor  E.,  opera-composer;  b.  Balden- 
heim,  Alsatia,  1841  ;  d.  1890. 

Neva'da,  Emma,  soprano  ;  b.  Nevada,  U.  S.,  i86o(?). 

Nev'in,  Ethelbert  Woodbridge,  pianist,  composer ; 
b.  Edgeworth,  Pa.,  1S62  ;  d.  1902. 

Nicolai  (ne'c6h-li).  Otto,  opera  -  composer ;  b. 
Konigsberg.  1810;  d.  1849. 

Offenbach  (6hf '  fn  -  bSh),  Jacques,  operetta-com- 
poser ;  b.  Cologne,  1819 ;  d.  1880. 

Pacini  (pSh-che'ne),  Giovanni,  opera-composer;  b. 
Catania,  1796;  d.  1867. 

Paderewski  (pSh-dS-reff'ske),  Ignace  Jan,  pianist; 
b.  Podolia,  Poland,  1859.  [Genoa,  1782  ;  d.  1840. 

Paganini    (pah-gih-ne'ne),   Niccolo,    violinist;    b. 

Paine,  John  Knowles,  composer  ;  b.  Portland,  Me., 
^^39-  [poser  ;  b.  Taranto.  1741  ;  d.  1816. 

Paisiello    (pSh-e-ze-el'loh),  Giovanni,    opera-com- 

Palestrina  (pah-lS-stre'nSh),  composer;  b.  Pale- 
strina,  i5i5<?);  d-  1504-  [Breslau,  1807;  d.  1887. 

Panofka    (pa.h-n5hf'kah),    Heinrich,    violinist;    b. 

Panseron  (pahn-s'-r5hn'),  Auguste-Mathieu,  vocal 
teacher;  b.  Paris,  1796;  d.  1859.  [Mass.,  1863. 

Parker,  Horatio  ^Vm;,  composer;  b.  Auburndale, 

Patti,  Adelina.  soprano;  b.  Madrid,  1843. 

Parry,  Sir  Charles  H.  H.,  composer;  b.  Bourne- 
mouth, 1848.  [Wiesbaden,  1845. 

Perabo  (p6r'5h-bo),  Ernst,   pianist,  composer  ;  b. 

Pergolesi  (par-g6h-ia'ze),  Giovanni  Battista,  com- 
poser; b.  Jesi,  1710;  d.  1736. 

Philipp  (fe-lep),  Isidor,  pianist;  b.  Pesth,  1863. 

Piccinni  (pit-chin'ne),  Nicola,  opera-composer;  b. 
Hari,  1728;  d.  1800.  [burg,  i8n;  d.  1874. 

Plaidy  (pla'de),  Louis,  piano-teacher  ;  b.  Hubertus- 

Pleyel  (pla-el'),  Ignace-Joseph,  composer,  piano- 
mfr.  ;  b.  Ruppertsthal  (Vienna),  1757  ;  d.  1831. 


174    Brief  Biographies  of  Prominent  Musicians 

Ponchielli  (pohn-k'yel'le),  Amilcare,  opera-com- 
poser ;  b.  near  Cremona,  1834  ;  d.  1886.  [1841; 

Popper  (pohp'per),  David,  violoncellist  ;  b.  Prague, 

Prout,  Ebenezer,  composer,  theorist;  b.  Oundle, 
Northamptonshire^,  1835.  [b,  Lucca,  1858. 

Puccini  (poot-che'ne),  Giacomo,  opera-composer; 

Pugno  (piin-yoh),  Raoul,  pianist ;  b.  Montrouge, 
1852. 

Pur'cell,  Henry,  composer  ;  b.  London,  1658  ;  d.  1695. 

Raff,  Joachim,  composer  ;  b.  Lachen,  Switz.,  1822; 
d.  1882. 

Rameau  (rah-moh').  Jean- Philippe,  opera-com- 
poser; b.  Dijon,  1683;  d.  1764. 

Rand'egger,  Alberto,  composer;  b.  Trieste,  1832. 

Reinecke  (ri'ne-ke),  Carl,  pianist,  composer;  b. 
Altona,  1824.  [seilles,  1823. 

Reyer  (ra-yar),   Louis,   opera-composer ;  b.  Mar- 

Rheinberger  (rin'bar-ger),  Joseph,  composer;  b. 
Vaduz,  1837  ;  d.  1901. 

Richter  (riyh'ter),  Ernst  Fr.,  theorist;  b.  Gross- 
Schonau,  1808 ;  d.  1879. 

Richter,  Hans,  conductor;  b.  Raab,  Hungary,  1843. 

Riemann  (re'mahn),  Hugo,  writer  ;  b.  Grossmehlra, 
1849.  [1784  ;  d.  1838. 

Ries  (ress),  Ferdinand,  pianist,  composer  ;  b.  Bonn, 

Rimbault,  Edward  Francis,  writer ;  b.  London, 
1816;  d.  1876.  [vin^  Russia.  1844. 

Rimsky-Kor'sakov,    Nicolas,   composer;   b.  Tikh- 

Rinck,  Johann,  organist;  b.  Elgersburg,  Thuringia, 
1770;  d.  1846.  [d.  1830. 

Rode  (rohd),  Pierre,  violinist;  b.  Bordeaux,  1774; 

Rossini  (rohs-se'ne),  Gioachino,  opera-composer; 
b.  Pesaro,  1794:  d.  1868. 

Rubinstein  (roo'bin-stin),  Anton,  pianist,  com- 
poser ;  b.  Wechwotynecz,  1830 ;  d.  1894. 

Ruckauf  (r?Vk'owf),  Anton,  song  -  composer  ;  b. 
Prague,  1855  ;  d.  1903. 

Sacchini  (sahk-ke'ne),  Antonio  M,  G.,  opera-com- 
poser ;  b.  Pozzuoli,  1734 ;  d.  1786.  [Paris   1835. 

Saint-Saens  (sSn-sa-ahnO,  Camille,  composer;  b. 

Sarasate  (sah-rah-sah'teh),  Pablo  de,  violinist ;  b. 
Pamplona,  Spain^.  1844.  [France,  1852. 

Sauret  (soh-ra'),    Emile,    violinist;  b.  Dun-le-Roi, 


Brief  Biographies  of  Prominent  Musicians    175 

Scarlatti  (skar-lSht'te),  Alessandro,  composer  ;  b. 
Trapani,  1659;  d.  1725. 

Scarlatti,  Domenico,  harpsichordist,  composer;  b. 
Naples,  16831?)  ;  d.  1757, 

Scharwenka  (shar-veng'k^h),  Philipp,  composer; 
b.  Samter,  Posen,  1847.  [18-0. 

Scharwenka,  Xaver,  pianist,  composer  ;  b.  Samter, 

Schubert  (shoo'bert),  Franz  Peter,  composer;  b. 
Lichtenllial,  1797  ;  d.  182S. 

Schumann  (shoo'mShn),  Robert,  composer;  b. 
Zwickau,   1810;  d.  1856. 

Schumann,  Clara,  pianist ;  b.  Leipzig,  1819  ;  d.  1896. 

Schytte  (sh/Vl'te),  Ludvig,  pianist,  composer;  b. 
Aaihus,  Jutland,  1850.  [cow,  1872, 

Scriabine  (skre-ah'ben),  Alex.,  composer;  b.  Mos- 

Seiss  (ziss),  Isidor,  pianist ;  b.  Dresden,  1840. 

Sgambati  (zgahm-bah'te),  Giovanni,  pianist ;  b. 
Rome,  1S43.  [Conn.,  1858. 

Shelley,   Harry  Rowe,  composer;  b.  New  Haven, 

Sherwood,  William  Hall,  pianist ;  b.  Lyons,  N.  Y., 
1S54. 

Sieber  (zee'ber),  Ferdinand,  vocal  teacher;  b. 
Vienna,  1822  ;  d.  1805. 

Sinding,  Christian,  composer;  b.  Kongberg,  Nor- 
way, 1S56. 

Sitt  (zit),  Hans,  violinist ;  b.  Prague,  1850. 

Sivori  (se-voh're),  Ernesto  Camillo,  violinist ;  b. 
Genoa,  1815  ;  d.  1894. 

Smetana  (sma'tah-nSh),  Friedrich,  opera-com- 
poser; b.  Leitomischl,  Boh.,  1824;  d.  1884. 

Sousa  (soo'zSh),  John  Philip,  band-master,  com- 
poser; b.  Washington,  D.  C,  1S56.  [1817. 

Spindler,   Fritz,  pianist,  composer;  b.  Wiirzbach, 

Spohr,  Ludwig,  violinist,  composer  ;  b.  Brunswick, 
1784  ;  d.  1859. 

Spontini  (sp6hn-te'ne),  Gasparo,  opera-composer; 
b.  Majolati,  1774;  d.  1851. 

Stainer,  Sir  John,  organist,  composer;  b.  London, 
184..;  d.  I., I.  fjg^^_ 

Stanford,    Charles  Villiers,   composer;  b.  Dublin, 

Steibelt  (sti'belt),  Daniel,  pianist;  b.  Berlin,  1765; 
'^-  '823-  [d.  ,849. 

Strauss,  Johann  (Sr.),  composer;  b.  Vienna,  1804; 


176    Brief  Biographies  of  Prominent  Musicians 

Strauss,  Johann  (Jr.),  composer;  b.  Vienna,  18255 
d.  i8q9. 

Strauss,  Richard,  composer  ;  b.  Munich,  1864. 

Sullivan,  Sir  Arthur,  operetta-composer ;  b.  Lon- 
don, 1842;  d.  1900.  [^   Spalato,  1820;  d.  1895. 

Suppe  (s66p-pa'),  Franr  von,  operetta-composer; 

Svendsen,  Johan,  violinist,  composer  ;  b.  Christi- 
ania,  1840.  [16^2;  d.  1770. 

Tartini  (tar-te'ne),  Giuseppe,  violinist ;  b.  Pirano, 

Tausig  (tow'ziyh),  Carl,  pianist  ;  b.  Warsaw,  1841 ; 
d-  1871.  [Kamsko-_Wotkinsk,  1840;  d.  1893. 

Tchaikovsky  (chi-kohv'ske),   Peter,  composer;  b. 

Thalberg  (tahl'barg),  Sigismund,  pianist,  com- 
poser; b.  Geneva,  1812  ;  d.  1871. 

Thomas  (toh-mah'),  Ambroise,  opera-composer ;  b. 
Metz,  1811  ;  d.  1896.  [land,  1835 ;  d.  1905. 

Thomas,  Theodore,  conductor  ;  b.  Esens,  E.  Fries- 
Thomas,  Arthur  Goring,  composer;  b.  near  East- 
bourne, Sussex,  1851. 

Vaccai  (vahk-kah'e),  Niccolo,  vocal  teacher,  com- 
poser;  b.  Tolentino,  1793;  d.  1848. 

Van  der  Stucken,  Frank,  composer  ;  b.  Fredericks- 
burg, Tex.,  1858.  [Roncole,  1813  ;  d.  1901. 

Verdi  (var'de),  Giuseppe,    opera-composer ;   b.  Le 

Vieuxtemps  (v'yo-tahn),  Henri,  violinist;  b.  Ver- 
viers,  Belg.,  1820;  d.  1881. 

Viotti  (ve-6ht'te),  Giovanni  Battista,  violinist, 
composer  ;  b.  Fontaneto  da  Po,  1753  ;  d.  1824. 

Vogrich  (voh'gritch),  Max,  pianist,  composer;  b. 
Szeben,  Transj'lv.,  1852. 

Volkmann  (fohlk'mahn),  Robert,  composer ;  b. 
Lommatzsch,  1815  ;  d.  18S3. 

Wagner  (vahg'ner).  Richard,  dramatic  composer; 
b.  Leipzig,  1813  ;  d.  1883. 

■Weber  (va'bei),  Carl  Maria  von,  opera-composer; 
b.  Eutin,  1786  ;  d.  1826.  [Zara,  Dalm.,  1863. 

Weingartner   (vin'gart'ner).   Felix,    composer;    b. 

Weitzmann  (vits'mahn),  Carl  Friedrich,  theorist;' 
b.  Berlin,  1808  ;  d.  1S80.  [Mass.,  1842. 

Whiting,   Geo.   Elbridge,  composer;  b.  Holliston, 

Wider  (ve-dohr'j,  Charles,  organist,  composer;  b. 
Lyons,  1845.  [Lublin^  Poland,  1835  ;  d.  1880. 

Wieniawski  (v'ya-ne-ahv'ske),  Henri,  violinist;  b. 


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176    Brief  Biographies  of  Prominent  Musicians 

Strauss,  Johann  (Jr.),  composer;  b.  Vienna,  1825} 
d.  1899. 

Strauss,  Richard,  composer  ;  b.  Munich,  1864. 

Sullivan,  Sir  Arthur,  operetta-composer;  b.  Lon- 
don, 1842  ;  d.  1900.  ^b.  Spalato,  1820 ;  d.  1895. 

Suppe  (s66p-pa'),  Franz  von,  operetta-composer; 

Svendsen,  Johan,  violinist,  composer  ;  b.  Christi- 
ania,  1840.  ^  [1692 ;  d.  1770. 

Tartini  (tar-te'ne),  Giuseppe,  violinist ;  b.  Pirano, 

Tausig  (tow'ziyh),  Carl,  pianist  ;  b.  Warsaw^,  1841 ; 
'^-  ^^71-  [Kamsko-_Wotkinsk,  1840;  d.  1893. 

Tchaikovsky  (chi-kohv'ske),   Peter,  composer;  b. 

Thalberg  (tahl'barg),  Sigismund,  pianist,  com- 
poser; b.  Geneva,  1812  ;  d.  1871. 

Thomas  (toh-mah'),  Ambroise,  opera-composer  ;  b. 
Metz,  1811  ;  d.  i8g6.  [land.  1835  ;  d.  1905. 

Thomas,  Theodore,  conductor  ;  b.  Esens,  E.  Fries- 
Thomas,  Arthur  Goring,  composer;  b.  near  East- 
bourne, Sussex,  1851. 

Vaccai  (vahk-kah'e),  Niccolo,  vocal  teacher,  com- 
poser;  b.  Tolentino,  1790;  d.  1848. 

Van  der  Stucken,  Frank,  composer  ;  b.  Fredericks- 
burg, Tex.,  1858.  [Roncole,  1813 ;  d.  1901. 

Verdi  (var'de),  Giuseppe,    opera-composer;  b.  Le 

Vieuxtemps  (v'vo-tahn),  Henri,  violinist;  b.  Ver- 
viers,  Belg.,  1820;  d.  1881. 

Viotti  (ve-6ht'te),  Giovanni  Battista,  violinist, 
composer  ;  b.  Fontaneto  da  Po,  1753  ;  d.  1824. 

Vogrich  (voh'gritch),  Max,  pianist,  composer;  b. 
Szeben,  Transj'lv.,  1852. 

Volkmann  (fohlk'mahn),  Robert,  composer ;  b. 
Lommatzsch,  1815  ;  d.  18S3. 

Wagner  (vahg'ner),  Richard,  dramatic  composer  ; 
b.  Leipzig,  1813  ;  d.  1883. 

Weber  (va'bei),  Carl  Maria  von,  opera-composer; 
b.  Eutin,  1786  ;  d.  1826.  [zara,  Dalm.,  1863. 

Weingartner   (vin'gart'ner),   Felix,    composer;    b. 

W^eitzmann  (vits'raahn),  Carl  Friedrich,  theorist;* 
b.  Berlin.  1808  ;  d.  1880.  [Mass.,  1842. 

Whiting,   Geo.   Elbridge,  composer;  b.  Holliston, 

Widor  (ve-dohrO,  Charles,  organist,  composer;  b. 
Lyons,  1845.  [Lublin,  Poland,  1835  ;  d.  1880. 

Wieniawski  (v'ya-ne-ahv'ske),  Henri,  violinist;  b. 


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